It’s very difficult to describe someone as prolific as Misha Panfilov. So, I feel the best way to define him is to think of a “Trivial Pursuit Playing Piece,” where each pie piece represents one of the bands he heads up, and each band has its own distinct style and genre. Yet, when looked at all together, create the whole musical persona of Misha. This is the lens I would like to view his latest endeavor, Days As Echoes.
The vibe on this sophomore release channels Krautrock philosophy and Library music, peppered with elements of jazz, Ethiopian, cinema, ambient and bits of everything between. This atmosphere is created from all the instruments Misha uses and the resulting compositions are heard as repetitive patterns that are forged from the multiple layering of melodies. Thus, creating six unique songs with emotional granularity, yet collectively encompass a genuinely positive “feel good” vibe…with a hint of nostalgia.
Moods of the day, moods like echoes say, A future of hope is yours, by following the Sun’s ray.
The opening track, “Days As Echoes,” is a dedication to a much simpler time when the sky was bluer and the snow was whiter…just like how you remember it when you were a child. A time when people honestly cared more about everything as a given, and not as a selfish accolade. A time when optimism seemed within reach. In other words, nostalgia marred by awareness.
…Leading to a path where the skies are not gray. Where dreams of castles in the air are the mainstay.
“In A Dream” has a style that pays homage to both spiritual jazz and ambient music. A simple theme is introduced and leads to the climax of this stormy dream, putting it all in perspective. That pivotal point when one realizes the truth by re-tracing the events, which led to the epiphany of how to find the answer while traveling within this airy soundscape.
…Diurnal or nocturnal, day or night, Traveling the path of truth must be done without fright.
One can’t help but feel a definite traveling vibe that comes from “Moonscape Waltz” To me, it has a dual-characteristic that can be visualized as a train trip, either at sunrise or sunset. Regardless, the time is not of major relevance, but the actual pursuit is. Lao Tzu said, “The journey of a thousand miles begins with that first step.” This track takes you beyond that initial step into this vast world toward your destination as you search for the truth.
…The unknown is real, but you know the deal. People need people to show which direction you point the wheel.
“Together” is the most peaceful and solo oriented compositions of this album. It shows how one cannot achieve happiness alone, but the importance of having someone special or a group of others to help along the way. Not only to help seek your goal, but also the ability to enjoy the scenery while on your journey
…The end of this tunnel has a light that’s so bright. Illuminating the trodden way, your destination, now in sight.
One is free from the chains of the unknown as you listen to a “Few Layers For Smith”, a dedication to a friend. A song that draws energy from the ECM works of Steve Reich, thats married with a primitive lo-fi basement setting. Its positive force breaks those encumbrances and gives you a glimpse of your prize. But you ruminate on this and come to the conclusion that the path that led you there is equally important as the goal itself. Question is, how do you share your realizations and experiences?
…The route was cast, the trials have passed. The glittering treasure you sought is yours now, at last.
“Ocean Song” meanders from the ritual rhythms of its shoreline to the crashing riptides of unbridled guitar feedback, creating this raging ocean atmosphere. However, its message is quite clear and states that people’s goals and experiences are not just meant for personal growth, but to be shared with
others, so that they too can live vicariously thru your story and somehow utilize it for their own.
…The prize has been won, but the journey is never done. You now have the responsibility to share everything under the Sun.
These six songs, each with its own sound, collectively comprise the vibe of this album. One cannot help but feel a sense of joy and fulfillment when listening to it. Each song has its own unique mood, yet together create an atmosphere of hope and happiness that has no choice but to spill out of the listener. I feel this was the ultimate goal of Misha’s on this record. Quite a challenge for the man who never sleeps, but is always searching for the perfect beat. One may not fully grasp his musical mind, but this album does give you a gateway into the moods and magic of Misha!
- Brent Sawicki
Search:don ray
- 1: I Can Dig It
- 2: Expressway (To Your Heart)
- 3: Doin’ Our Thing
- 4: You Don’t Love Me
- 5: Never My Love
- 6: The Exodus Song
- 7: The Beat Goes On
- 8: Ode To Billie Joe
- 9: Blue On Green
- 10: You Keep Me Hanging On
- 11: Let’s Go Get Stoned
1968’s Doin’ Our Thing is not only their first self-produced album but offers their most varied selection of songs, including tracks previously performed by Bobby Gentry, Ray Charles, The Supremes, and even a wild ride on the theme to the Otto Preminger film, ‘Exodus. Adding to this re-release’s special nature is the fact this will be Doin’ Our Thing’s first U.S. vinyl reissue since its original 1968 release date.
- A1: Shed
- A2: Is There Life In Rhyl?
- A3: Art Is Shit
- A4: Attention Deficit Retention
- A5: Mermaids In The Mersey
- B1: Punks Don?T Jam
- B2: It?S Okay To Be Quiet
- B3: Holy Pictures
- B4: Stand By Your Nan
- B5: Lie Down
LTD BRIGHT GREEN VINYL W/ 4 PAGE INSERT** **JEWEL CASE CD W/ 12 PAGE BOOKLET** A gloriously off-kilter yet deeply personal record that mixes absurdist punk theatre with an unexpectedly tender dive into mental health, Catholic guilt, and the surreal poetry of everyday life. “It’s more personal than the previous ones,” frontman Pete explains, “but not in a heavy way – more like Mortimer & Whitehouse than The Bell Jar”, succinctly summing up the Dinner Ladies’ approach: taking the kitchen sink, giving it a saxophone solo, and letting it spill over with charm, wit, and a fair helping of existential unease. Parody and poignancy runs through every song. Tracks like ‘Is There Life in Rhyl?’ and ‘Holy Pictures’ explore personal trauma and social conditioning through an unmistakably British filter; Catholicism, childhood fear, seaside holidays, and haunted toilet trips included. For fans of: The Fall, The Kinks, John Cooper Clarke, X-Ray Spex, Madness, cabaret, collage, chaos, and joyfully honest punk.
- 1: I Thought I'd Live Forever
- 2: Happiness
- 3: Causing Trouble Again
- 4: Cello Song
- 5: Keep To The Left
- 6: Doom Monger
- 7: Don't Fight Your Friends
- 8: Nothing Will Ever Change That
- 9: Hey Hey
- 10: Train Platform
Brush Stroke Vinyl[28,15 €]
Legendary artist, Raincoats co-founder, songwriter, filmmaker, and feminist icon Gina Birch has announced her eagerly awaited second solo album, Trouble, arriving via Third Man Records on Friday, July 11. Pre-orders are available now.
Trouble is heralded by today’s premiere of the album’s blistering centerpiece, “Causing Trouble Again,” available for streaming now. An official music video – directed by famed photographer/filmmaker Dean Chalkley and featuring an all-star collective of fellow female artists including Birch’s longtime friend and co-founder of The Raincoats, Ana da Silva, Neo Naturists co-founder Christine Binnie, singer-songwriter Amy Rigby, X-Ray Spex and Essential Logic co-founder Lora Logic, painter Daisy Parris, artist Georgina Starr, writer Jill Westwood, multi-disciplinary artist and activist Bobby Baker, award-winning costume designer Annie Symons, veteran photographer and Raincoats collaborator Shirley O’Loughlin, and many more – is streaming now on YouTube.
“For the ‘Causing Trouble Again’ video, after hearing Bob Dylan sing about a white ladder all covered with water, I became obsessed with white ladders,” Gina Birch says. “ I decided to use five white ladders, three with seven rungs…I realized later that this references Jacob’s Ladder and a connection from Earth to heaven, but I think I was thinking of ladders as a symbol of getting on, getting up. I wanted to have a choreographed movement with four of us with these ladders. How do we move with ladders? Do we move together, do we fight, do we dance? “I also wanted to reference the wind scene from the film, The Colour of Pomegranates, and to include as many artist women from the Women in Revolt exhibition as I could.
- Jealous God
- Good Submarine
- Clever Rabbits
- Lost On You
- Tangle
- No You Don't
- At Least It's Warm
- Mên- An- Tol
- False Hope
- Movement Of Standing Stones
- Gobbleknoll
Recorded with BRIT Award-winning producer Ethan Johns (Paul McCartney, Kings of Leon, Laura Marling, Ray Lamontagne) Ann's debut album Clever Rabbits explores the limits of prescribed identity in a timeless, brave and sensitive challenge of the zeitgeist - Inspired by the Chinese idiom "Clever rabbits need three burrows", and the imagery of three rabbits found in Devon's churches and China's caves, Ann Liu Cannon weaves Anglo-Celtic folklore, sacred texts, the sonic binaries of modern digital synthesis and her classic singer-songwriter roots, with integrity and precision - Clever Rabbits is a story told in her distinctive land of elegant, wonky folk
Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.
Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.
Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.
“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute
CRYSTAL VIPER ist stolz darauf, ihr Live-Debütalbum mit dem Titel "The Live Quest" zu veröffentlichen. Es wurde während der letztjährigen "The Silver Key Tour" in Polen, Deutschland, Österreich, Dänemark, Italien, Frankreich, Belgien und der Tschechischen Republik aufgenommen. "The Live Quest" ist eine kompromisslose Live-Aufnahme mit einer perfekt ausgewogenen Mischung aus Rohheit und Präzision. Dank der feurigen Gitarren, des stampfenden Schlagzeugs, des donnernden Basses und des eindringlichen Gesangs wird jeder Track härter und zu einem neuen Heavy Metal-Kracher. Für Fans von Judas Priest, Gamma Ray und Marta Gabriel.
- A1: Don Toliver - Lose My Mind (Feat. Doja Cat)
- A2: Dom Dolla - No Room For A Saint (Feat. Nathan Nicholson)
- A3: Ed Sheeran - Drive
- A4: Tate Mcrae - Just Keep Watching
- A5: Rosé - Messy
- A6: Burna Boy - Don't Let Me Drown
- A7: Roddy Ricch - Underdog
- A8: Raye - Grandma Calls The Boys Bad News
- B1: Chris Stapleton - Bad As I Used To Be
- B2: Myke Towers - Baja California
- B3: Tiësto & Sexyy Red - Omg!
- B4: Madison Beer - All At Once
- B5: Peggy Gou - D.a.n.c.e
- B6: Pawsa - Double C
- B7: Mr Eazi - Attention
- B8: Darkoo - Give Me Love
- B9: Obongjayar - Gasoline
Atlantic Records is thrilled to announce F1 The Album - the supercharged companion album to Apple Original Films and Warner Bros. Pictures’ high-octane, action-packed film F1, starring Brad Pitt. From the label that brought you the award-winning, blockbuster soundtracks Barbie The Album, Twisters: The Album, The Greatest Showman, Suicide Squad and more, F1 The Album is driven by brand new tracks from an exhilirating lineup of superstar artists.
- A1: Don Toliver - Lose My Mind (Feat. Doja Cat)
- A2: Dom Dolla - No Room For A Saint (Feat. Nathan Nicholson)
- A3: Ed Sheeran - Drive
- A4: Tate Mcrae - Just Keep Watching
- A5: Rosé - Messy
- A6: Burna Boy - Don't Let Me Drown
- A7: Roddy Ricch - Underdog
- A8: Raye - Grandma Calls The Boys Bad News
- B1: Chris Stapleton - Bad As I Used To Be
- B2: Myke Towers - Baja California
- B3: Tiësto & Sexyy Red - Omg!
- B4: Madison Beer - All At Once
- B5: Peggy Gou - D.a.n.c.e
- B6: Pawsa - Double C
- B7: Mr Eazi - Attention
- B8: Darkoo - Give Me Love
- B9: Obongjayar - Gasoline
Atlantic Records is thrilled to announce F1 The Album - the supercharged companion album to Apple Original Films and Warner Bros. Pictures’ high-octane, action-packed film F1, starring Brad Pitt. From the label that brought you the award-winning, blockbuster soundtracks Barbie The Album, Twisters: The Album, The Greatest Showman, Suicide Squad and more, F1 The Album is driven by brand new tracks from an exhilirating lineup of superstar artists.
- A1: Nous Sommes
- A2: Nana Electronique
- A3: L'eurasienne (Alternat. Cover)
- A4: Amazone
- A5: Bobby Bonbek (Alternat. Cover)
- A6: Chapeau Volant (Alternat. Cover)
- A7: Sexy, Absolutely Nice
- A8: Une Petite Plume
- B1: Gogol Le Mongol
- B2: Funky Cat
- B3: La Machine A Rêver (Alternat. Cover)
- B4: Alcool (Alternat. Cover)
- B5: La Mort
- B6: Le Fils De L'homme
- B7: Cobaye
- A1: You’ll Lose A Good Thing
- B1: Love Me Tonight
This is the very first reissue on 7” single of these super rare and gorgeous early Reggae tracks by one of the most underrated voice of Jamaica. Both these tracks were produced by Dandy Livingstone and released in 1969 on the Downtown label, a Trojan sublabel, on two separate singles:
- DT-436: Audrey "You'll Lose A Good Thing" with Desmond Riley "If I Had Wings" on the flip.
- DT-414: Audrey "Love Me Tonight" with Brother Dan All Stars "Shoot Them Amigo" on the B side.
NOTE: Desmond Riley "If I Had Wings" is featured on our companion single also to be released on June 21, 2025.
This reissue brings these two rare gems together for the first time on a 7” single allowing enthusiasts and collectors to experience their gorgeous sound.
The original pressings have become highly collectible, with copies fetching big sums in the collectors' market.
This exceptional release will be available on our website and in select record shops worldwide from June 21, 2025.
Audrey Hall, aka Audrey was born in Kingston in 1948, sister to Pam, Trevor & Raymond Hall, all Reggae artists. She began her career as a duo, Dandy & Audrey with Dandy Livingstone. She recorded two albums with Dandy as a duo in 1968 and 1969.
She also recorded a handful of solo singles on the Down Town label with Livingstone as a producer. Dandy was a key producer shaping Jamaican sounds in Britain at that time. Although these tracks are actually all quite nice, two tracks really standout: “You’ ll Lose A Good Thing” and “Love Me Tonight” both released together for the first time on this single.
After the Skinheads craze subsided in Britain, Audrey moved to New York. During much of the 1970s and early 1980s, she worked as a backing singer alongside her sister Pam Hall. She made a real come-back as a solo artist in 1985 with producer Donovan Germain and scored many hits in the U.K.including “One Dance Won’t Do”, "Smile" and "The Best Thing For Me".
While she gained wider success in the 1980s with lovers rock hits, she did not quite get the recognition her outstanding singing skills deserved and she remains one of the most underrated voice of Jamaica…
- A1: The Way You Look Tonight; Written-By – Jerome Kern
- A2: Forecast: Sonny & Red; Written-By – Art Hillery
- A3: You Don't Know What Love Is / I'm Getting Sentimental Over You; Written-By – Don Ray*, Gene Depaul, George Bassman
- B1: Lester Leaps In; Written-By – Lester Young
- B2: Just Friends; Written-By – John Klenner
- B3: All God's Chillun Got Rhythm; Written-By – Bronislaw Kaper, Walter Jurmann
- A1: Judy Beaver– Heartache In My Hand
- A2: Ramona Parish– I'm A Woman
- A3: Clayton Ford– Don't Believe All City Kids Are Bad
- A4: Country Mamma Annie– It Takes A Lot Of Man
- A5: Jon Abnor– Losing Again
- A6: Ramona Parish– I Feel A Thrill
- A7: Country Mamma Annie– Who Do You Think You're Foolin
- A8: Harland Powell– Why Can't Love Last?
- B1: Judy Beaver– I Picked Out The Ring
- B2: Ramona Parish– Here Comes My Baby Back Again
- B3: Country Mamma Annie– When It's Raining
- B4: Clayton Ford– You've Forgotten To Kiss Me
- B5: Harland Powell– Bessie
- B6: Country Mamma Annie– That's The Way It Is
- B7: Ray Winkler– My Tribute To Jim Reeves
- A1: Swordfish (Intro) - Paul Oakenfold
- A2: The Word (Pmt Remix) - Dope Smugglaz
- A3: Unafraid (Paul Oakenfold Mix) - Jan Johnston
- B1: Dark Machine - Paul Oakenfold & Christopher Young
- B2: New Born (Paul Oakenfold Mix) - Muse
- C1: Chase - Paul Oakenfold & Christopher Young
- C2: Harry Houdini - Paul Oakenfold
- C3: Kneel Before Your God - Lemon Jelly
- C4: Lapdance (Paul Oakenfold Swordfish Mix) - N*E*R*D
- D1: Speed - Paul Oakenfold
- D2: Planet Rock (Swordfish Mix) - Paul Oakenfold Vs Afrika Bambaataa & Soulsonic Force
- E1: Stanley's Theme - Paul Oakenfold
- E2: Password - Paul Oakenfold
- F1: On Your Mind (Omaha Mix) - Patient Saints
- F2: Get Out Of My Life Now - Paul Oakenfold & Amoeba Assassin
Hailed as the “Godfather of electronic music,” Paul Oakenfold is one of the most successful electronic artists of all time, counting more than 110M streams, 5M albums sold worldwide and three GRAMMY nominations.
Oakenfold’s discography includes three full-length studio albums, countless live/compilation albums, singles and remixes, and over 20 DJ mix albums. He has written and produced for major stars like Cher, The Happy Mondays, U2 and Madonna and also counts more than 100 remixes, including ones for The Rolling Stones, Justin Timberlake, Michael Jackson, Britney Spears and Elvis Presley.
He continues to push the envelope via his game-changing projects, including a once-in-a-lifetime DJ set in April 2017 at the top of the base camp of Mt. Everest, commemorating the set with the release ‘Mount Everest: The Base Camp Mix.’ In September 2018, he became the first-ever artist to perform at Stonehenge, a UNESCO World Heritage site, followed by his ‘Sunset at Stonehenge’ mix album (February 2019) capturing the historic DJ set. In March 2019, he performed at the 2019 Special Olympics World Games opening ceremony in Abu Dhabi, in addition to remixing the Games’ official theme song.
This release is a reissue of his classic soundtrack album for the 2001 Joel Silver produced Swordfish starring Hugh Jackman, John Travolta, Halle Berry & Don Chedle. It contains tracks specially commissioned for the film written by Paul & film composer Christopher Young, plus his remix versions of N*E*R*D – Lapdance, Afrika Bambaataa - Planet Rock, Muse - New Born, plus tracks from Lemon Jelly + Dope Smugglerz, Jan Johnston.
The original release has sold over 100k units to date & the vinyl is now selling upwards of £300 on Discogs. This 2025 triple vinyl reissue has been remastered at Metropolis Studios + will be pressed on green coloured vinyl & coincides with the 4k UHD limited edition 25th anniversary Blu Ray release.
B.o.B präsentiert: The Adventures of Bobby Ray ist das Debütalbum von B.o.B, das ursprünglich am 27. April 2010 veröffentlicht wurde. Die Produktion für das Album erstreckte sich von 2008 bis 2010 und wurde von einem talentierten Team übernommen, darunter B.o.B selbst, Crada, Dr. Luke, The Smeezingtons, Jim Jonsin, Lil' C, Alex da Kid, Polow da Don und DJ Frank E. Diese erstmalige Vinyl-Veröffentlichung als 2-LP enthält nicht nur die mit RIAA Diamant ausgezeichnete Single Airplanes mit Haley Williams von Paramore, sondern auch Gastbeiträge von Bruno Mars in Nothing On You und Janelle Monae in Ghost In The Machine.
- I Can't Stop Loving You
- Hit The Road, Jack
- Unchain My Heart
- But On The Other Hand, Baby
- Hide Nor Hair
- At The Club
- Who You Gonna Love
- Don't Let The Sun Catch You Cryin
- Night Time Is The Right Time
- Hallelujah I Love Her So
- Georgia On My Mind
- Carry Me Back To Old Virginny
- California, Here I Come
- Basin Street Blues
- Alabamy Bound
- Together
- I Wonder
- Drown In My Own Tears
- What'd I Say Parts I And Ii
- I've Got A Woman
- 1: The Sheik Of Araby
- 2: Sans Toi Je N'ai Plus Rien (Bei Dir War Es Immer So Schon)
- 3: Suite Hongroise
- 4: Manege
- 5: Souvenir De Toronto/Frischka
- 6: Charleston
- 7: Valse Des Ecoliers
- 8: La Manouche
- 9: Suite Roumaine : Babouchka/Sirba Din Dolj
- 10: Hopla
- 11: Le Vase
- 12: Cousin Django
Angelo Debarre's extraordinary guitar technique has long been the tree that hid the forest of his profound musicality and above all, his talent as a composer. Belonging to the family of Django Reinhardt's heirs, Debarre has become a legend among Gypsy Jazz fans, one of those rare musicians, who can enchant a room and make hearts beat in unison.
The New Dictionary of Jazz (Nouveau Dictionnaire du Jazz) describes Angelo Debarre as supersonic, and indeed, he is with mad virtuosity. His left hand moves up and down the fine neck of his gypsy guitar, with speed but always with musicality. But it would be an understatement to speak only of his dexterity; he has a marvellous ability to play with subtlety, and his improvisational possibilities seem endless; all done with great ease and apparent composure. Solos, counterpoint, he's everywhere.
A child from the gypsy community, Angelo started playing guitar with his family at the age of eight. In 1984, he formed the first "Angelo Jazz Quintet". In 1985, he became one of the pillars of the famous Parisian cabaret, "La Roue Fleurie" and participated in numerous tours and recordings, including the famous Gypsy Guitars, a reference album of the genre.
Very comfortable in several gypsy styles, Debarre can be found alongside fellow guitarist Petro Ivanovitch and singer and balalaika player Raya from the group Arbat. As a guest, DeBarre can be heard with the band Bratsch, in dialogue with the pianist Bojan Z, percussionist Xavier Desandre-Navarre, the violinist Florin Niculescu and other leading figures of the gypsy guitar.
Angelo Debarre: guitar
Serge Camps: guitar
Frank Anastasio: bass
- A1: The Ladder
- A2: Impossible (Ft. Alison Goldfrapp)
- A3: This Time, This Place (Ft. Beki Mari)
- B1: The Girl And The Robot (Ft. Robyn)
- B2: Here She Comes Again (Ft. Jamie Irrepressible)
- B3: Monument (Ft. Robyn)
- C1: Oh, Lover (Ft. Susanne Sundfør)
- C2: Unity (Ft. Karen Harding)
- C3: You Don't Have A Clue (Ft. Anneli Drecker)
- D1: The "R
- D2: Breathe (Ft. Astrid S)
- D3: Running To The Sea (Ft. Susanne Sundfør)
- D4: What Else Is There? (Ft. Fever Ray)
- 14: Never Ever (Ft. Susanne Sundfør)
- 15: Sordid Affair (Ft. Man Without Country)
- 16: I Had This Thing (Ft. Jamie Irrepressible)
- 17: Feel It (Ft. Maurissa Rose)
- 18: Do It Again (Ft. Robyn)
- 19: Like An Old Dog (Ft. Pixx)
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]
- A1: Tom Hooker - Looking For Love
- A2: Hypnosis - Droid
- A3: Samoa Park - Tubular Bells And Foreign Affair
- A4: Kinky Go - Gimme The Love
- B1: Ken Laszlo - Don‘t Cry
- B2: Doctor`s Cat - Watch Out
- B3: Gazebo - Lunatic
- B4: Italian Boys - Forever Lovers
- C1: Baby‘s Gang - Happy Song
- C2: Miko Mission - The World Is You
- C3: Mike Cannon - Voices In The Dark
- C4: Laserdance - Power Run
- D1: Den Harrow - Catch The Fox
- D2: Koto - Visitors
- D3: Raggio Di Luna (Moon Ray) - Comanchero
- D4: Cyber People - Doctor Faustu`s
- E1: Body Power - Nothing
- E2: Valerie Dore - It‘s So Easy
- E3: Radiorama - Vampires
- E4: Biba - Top Model
- F1: Savage - I`m Losing You
- F2: Jimmy & Susy - Come Back
- F3: Public Passion - Flash In The Night
- F4: Colors - Lonely Night
- G1: Brando - Rainy Day
- G2: J D. Jaber - Don‘t Stop Lovin‘
- G3: G J. Lunghi - Acapulco Nights
- G4: Brian Ice - Tokyo
- H1: Paul Paul - Good Times
- H2: The Voyagers - Distant Planet
- H3: R Bais - Dial My Number
- H4: Max Coveri - Bye Bye Baby
vol 1[46,01 €]
Enter the glittering world of Italo Disco with the exclusive 4LP
box set „The Italo Disco Collection Vol. 2“.
This limited edition box features four vinyl records that capture
the essence of the Italo Disco era. Discover and enjoy musical
treasures from Ken Laszlo, Miko Mission, Baby‘s Gang, and
Laserdance. „The Italo Disco Collection Vol. 2“ is not only a
musical journey through time, but also a collector‘s item for
all vinyl lovers and fans of Italo Disco. This carefully compiled
collection has been designed with great care and attention to
detail and includes a colorful beach ball as a summertime fun
maker. This box brings the best of the 80s straight into your
living room and guarantees unforgettable musical moments.
Tauchen Sie ein in die glitzernde Welt des Italo Disco mit der
exklusiven 4LP Box „The Italo Disco Collection Vol. 2“.
Diese limitierte Box enthält vier Vinyl-Schallplatten, die
die Essenz der Italo Disco Ära einfangen. Musikalische
Schätze von Ken Laszlo, Miko Mission, Baby’s Gang, und
Laserdance werden hier geborgen. „The Italo Disco Collection
Vol. 2“ ist nicht nur eine musikalische Zeitreise, sondern
auch ein Sammlerstück für alle Vinyl-Liebhaber und Fans des
Italo Disco. Diese sorgfältig zusammengestellte Kollektion,
wurde mit großer Sorgfalt und Liebe zum Detail gestaltet und
enthält als sommerlichen Spaßbereiter einen farbenfrohen
Wasserball. Diese Box bringt das Beste der 80er Jahre direkt in
Ihr Wohnzimmer und garantiert unvergessliche musikalische
Momente.
- A1: Voices Inside (Everything Is Everything)
- A2: Je Vous Aime (I Love You)
- A3: I Believe To My Soul
- B1: Misty
- B2: Sugar Lee
- B3: Tryin' Times
- C1: Thank You Master (For My Soul)
- C2: The Ghetto
- D1: To Be Young, Gifted And Black
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.
- A1: オリーブの笛 = Olive's Horn
- A2: 国際スパイ = International Spy
- A3: 新成人 = Neu Adult
- B1: 紙袋 = Paperbag / Orange Laptop
- B2: くっついたガム = Stuck On Gum
- B3: 揚げキノコ = Fried Mushroom
- C1: 何が好き? (キム) = What Do You Want? (Kim)
- C2: レモネード = Lemonade
- C3: 我らは王女 = We Are The Princesses
- D1: 元に戻して = Take Me Back
- D2: ヒットを狙って = Take It To The Hit
"Donald Duck, kill Minnie!" These words, ordered with urgency against a circular series of drum strikes and manipulated guitar/electronic textures, come over three fourths of the way through the album known as SYR 5 (aka "Olive's Horn"). While the words and sounds taken on their own may shock, their appearance within this collaborative effort between Kim Gordon (Sonic Youth, Body/Head, solo efforts), Ikue Mori (DNA, solo) and DJ Olive (We, solo) by this point in the album are not surprising. Taken on whole, SYR 5 sees its creators' respective histories forged in the 80s downtown noise scene, No Wave zone and Marclay-inspired club collide head on to create the audio equivalent of a slow-playing J.G. Ballard novel. Starting from the album's initial impressions where shimmering tones are interrupted by the sounds of winding clocks and bird calls before giving way to a cinematic sweeps of percussion, alien samples and blown out wasteland subs, the listener is constantly taken on a guided journey through a waking dream state where anything is possible. It is a world where dub samples, gurling beats and plaintive vocals (as only Gordon can deliver) fit together like the final locking puzzle pieces, the only elements needed to fully grasp a new reality. Re-appearing on vinyl for the first time in 25 years, these sounds have proven to be jaw-droppingly timeless. - Cory Rayborn, 2025
- A1: Do U Fm
- A2: Novelist Sad Face
- A3: Green Box
- A4: Dusty
- A5: The Linda Song
- A6: Dm Bf
- B1: I Tried
- B2: Melodies Like Mark
- B3: Wildcat
- B4: How U Remind Me
- B5: Pocky
- B6: Bon Tempiii
- B7: Pt Basement
- B8: Alberqurque Ii
- B9: Mary's
Yellow Coloured Vinyl[29,37 €]
Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?
You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.
On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.
The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.
Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.
So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:
I don’t wanna be made to see
I just wanna ask “what’s that?”
Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.
Lay in bed alone at night and ask aloud to the stillness,
“What were you doing at the Albuquerque Airport?
What were you doing there??”
And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.
Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.
Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?
You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.
On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.
The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.
Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.
So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:
I don’t wanna be made to see
I just wanna ask “what’s that?”
Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.
Lay in bed alone at night and ask aloud to the stillness,
“What were you doing at the Albuquerque Airport?
What were you doing there??”
And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.
Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.
- 01: Portrait Of My Heart
- 02: Keep It Alive
- 03: Alibi
- 04: Waterfall
- 05: Destiny Arrives
- 06: Ammunition
- 07: Mount Analogue
- 08: Drain
- 09: Satisfaction
- 10: Love Ray Eyes
- 11: Sometimes
Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.
Black Vinyl[22,90 €]
SIGNED OLIVE GREEN VINYL[23,49 €]
KILLER RAY SPLATTER VINYL[23,49 €]
Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.
On Chrystia Cabral's fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral's lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album's thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021's The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be. The title track, with its propulsive drum groove and anthemic chorus of "I don't belong here," is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album's broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers_The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun. Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING's first duet on "Mount Analogue," Turnstile guitarist Pat McCrory turns Cabral's original piano demo for "Alibi" into the crunchy, riff-y version that appears on the record, while Zulu's Braxton Marcellous gives "Drain" its sludgy heft. These parts aren't just incorporated seamlessly into the album; they feel like an integral part of its universe. Ultimately, though, Portrait of My Heart is nobody's record but Cabral's. She fearlessly draws the curtain back on parts of herself that she's never included in SPELLLING before_her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. "It's very much an open diary of all those sensations," she says.
- A1: Intro
- A2: Better Days
- A3: Hiya
- A4: Dragon
- A5: Kiki
- B1: I Don't Care
- B2: Can't Love
- B3: Sometimes
- B4: Lota
- B5: Let The Heart Grow
- B6: Outro
- A1: Do U Fm
- A2: Novelist Sad Face
- A3: Green Box
- A4: Dusty
- A5: The Linda Song
- A6: Dm Bf
- B1: I Tried
- B2: Melodies Like Mark
- B3: Wildcat
- B4: How U Remind Me
- B5: Pocky
- B6: Bon Tempiii
- B7: Pt Basement
- B8: Alberqurque Ii
- B9: Mary's
Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?
You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.
On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.
The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.
Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.
So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:
I don’t wanna be made to see
I just wanna ask “what’s that?”
Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.
Lay in bed alone at night and ask aloud to the stillness,
“What were you doing at the Albuquerque Airport?
What were you doing there??”
And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.
Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.
- A1: Summer Of Love
- A2: South Coast
- A3: Theremini
- A4: Libretto
- A5: Albatross
- B1: Sally's Beauty
- B2: Drugstore Drastic
- B3: You're Clouds
- B4: Moonlight Concessions
‘Moonlight Concessions’ goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp sketches and their suitably abrasive musical arrangements. The album follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal imagery. Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver Short Cuts, overheard conversations, recounted happenings and telling one-liners, all sewed together to illustrate the times as they slowly mature, fully peppered with original Muses’ vim and vigour. ‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred sub-conscious. ‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us. The album opener, it’s a haunting baroque overture, bowed and brooding. ‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver filed with warmth in a safe haven lubricated by tequila. Written in the differing South Coast environs of The Gulf Of Mexico and Southern California, ‘Moonlight Concessions’ pulls from the star clusters that light both, generating optimism and hope in varying degrees. Hersh explains, “In New Orleans the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”
- A1: Champagne Victory
- A2: Everything's Fine
- A3: Pick A Side
- A4: Skit#1 Bottle Of Wine
- A5: Cenossilicaphobia (Feat. Youthstar)
- B1: Sunshine Distributor
- B2: The Mirror
- B3: Paris Is Burning (Feat. Mr J. Medeiros)
- B4: River Nile
- C1: Stay In Your Lane (Part 2)
- C2: Medieval (Feat A.s.m)
- C3: Skit#2 Don't Stop Now
- C4: Chill Pill
- D1: Polyglotte (Feat. Cheeko)
- D2: Skit#3 Dum Ditty Dum
- D3: Change My Mind
- D4: Roll The Credits
- A1: Cosmic Trigger
- A2: Lowered Shelf
- A3: A Pale Horse In Roswell 1947
- A4: Weathered Underground
- A5: Vallee
- A6: Saxxas
- B1: Amalgamated
- B2: Black Triangles
- B3: Lying On The Ground
- B4: Solar Consiousness
- C1: I'm So Tired (Four Songs Ep / Fugazi Covers)
- C2: Long Division (Four Songs Ep / Fugazi Covers)
- D1: Version (Four Songs Ep / Fugazi Covers)
- D2: Cashout (Four Songs Ep / Fugazi Covers)
Ltd Classic Black Vinyl with bonus 7inch, DL card. Monde UFO, LA-based duo of Ray Monde and Kris Chau, are a monochromatic sunset for the senses. A sonic journey through psychedelia, space rock and jazz. A cosmic space where Spacemen 3 meets Vanishing Twin, by way of Sun Ra. 7171 perfectly embodies the framework of lo and hi-fi sounds which have helped define the band. Included in this expanded package is Four Songs, Monde UFO's radical interpretation of Fugazi's music, housed for the first time on LTD 7" with new artwork. In a downtown Los Angeles warehouse, on 7th Street, Ray Monde began writing songs on an old Yamaha church organ for a project that eventually became Monde UFO. Utilizing the organ as a bass, alongside keyboards and a drum machine, he began making demos on a four-track cassette recorder. Heavily influenced by the musician Sandy Bull, sonically landing in a similar no-man's land of Worldly Jazz and Psych Folk. Monde experimented with the themes mostly of meditation and UFO lore. In time Ray moved in with the artist Kris Chau. With little crossover in musical tastes, they exclusively started listening to jazz, ambient and new age music in the house. Increased interest in sound baths and experimental music led to seeing music in a different light. Envisioning something that would sound like Don Cherry making a record with Yo La Tengo. '7171' is an amalgam of influences, interpretations and otherworldly sounds channeled through genre bending experimentation. This expanded edition of '7171' includes the sought after 'Four Songs' EP, a reimagining Fugazi's early classics, songs that take on a life of their own, lost amongst the haze and sugar sweet psych. Ray Monde explains, "Long Division was one of my favorite tracks off 'Steady Diet of Nothing' the first Fugazi record I ever owned; more than ever, it also feels truly poignant in the times we live in.Version 2 is our interpretation of Version from 'Red Medicine', my favorite Fugazi Record." "A slice of low-key bedroom pop-psychedelia in the vein of Syd Barrett." Aquarium Drunkard "Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers." New Commute
- A1: A Fine Romance
- A2: Gee Baby, Ain't I Good To You
- A3: Moonlight In Vermont
- A4: Don't Be That Way
- A5: They Can't Take That Away From Me
- B1: Stompin' At The Savoy
- B2: Tenderly
- B3: Cheek To Cheek
- B4: Autumn In New-York
- C1: I Won't Dance
- C2: A Foggy Day
- C3: Let's Call The Whole Thing Off
- C4: Love Is Here To Stay
- C5: They All Laughed
- D1: I've Got My Love To Keep Me Warm
- D2: Stars Fell On Alabama
- D3: I Got Plenty O' Nuttin
- D4: Summertime
- D5: It Ain't Necessarily So
The queen Ella Fitzgerald and the king Louis Armstrong first met in 1946 for the recording of "The Firm Fram Sauce", a song made famous the previous year by Nat "King" Cole. They had the opportunity to collaborate again in the studio for a few tracks in 1950 and 1952, but it was mainly between 1956 and 1958 that the duo was extremely active. Thanks to the impetus of producer Norman Granz, the star-studded partnership recorded at this period nearly fifty songs, considered masterpieces of jazz history. All these great standards were released on Norman Granz"s Verve label, with a dream cast: Oscar Peterson, Herb Ellis, Ray Brown, Buddy Rich, and Louie Bellson. The grand finale took place in 1958 with their incomparable version of Gershwin"s "Porgy & Bess" conducted by Russell Garcia. For this Greatest Hits album showcasing the association of two geniuses, we have focused on the 1956-1958 period, choosing the most iconic standards and concluding this double vinyl on a high note with three excerpts from "Porgy & Bess".
- A1: Another Man Done Gone
- A2: War Zone
- A3: Shed No Tears
- A4: Who's Been Talkin
- B1: Pontiac
- B2: Dark And Hungry
- B3: Begging The Girl To Go
Reissue des 1979er Solodebütalbums des grandiosen Blues-Mundharmonika-Spielers Sugar Blue aka James Whiting aus Harlem, NYC. Sugar Blue arbeitete mit zahlreichen Musikerkollegen (Louisiana Red, Bob Dylan, Stan Getz, Ray Charles, Frank Zappa) zusammen, seine berühmteste Kooperation dürften aber die Rolling Stones-Alben "Some Girls" (1978) & "Emotional Rescue" (1980) sein, darunter der Überfliegerhit "Miss You", den er später solo coverte. Sugar Blue war mit einem Beitrag auf der Compilation "Blues Explosion" (1985) und als Studiomusiker auf Willie Dixons Album "Hidden Charms" (1998) vertreten - beide Werke gewannen einen Grammy. 1997 begleitete er Prince auf dessen Love-4-One-Another-Charities-Tour.
- A1: Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year Mix 2024 Outro) (1 02)
- A2: Armin Van Buuren & Moby - "Extreme Ways" (1 10)
- A3: Jerome Isma-Ae - "Hold That Sucker Down" (Hel Slowed Remix) (1:10)
- A4: Hel Slowed & Amber Revival - "Wildfire" (1:10)
- A5: Estiva - "Fine Day" (1 10)
- A6: Armin Van Buure - "Love Is A Drug" (Feat Anne Gudrun - Agents Of Time Remix) (1 10)
- A7: 7 Skies X Antheros - "Finish My Life" (1 10)
- A8: Elysian - "Now We Are Free" (1 10)
- A9: Rivo - "In & Out Of Love" (Vs Armin Van Buuren) (1 10)
- A10: Armin Van Buuren - "Pulstar" (1 10)
- A11: Nilsix - "Old's Cool" (1 10)
- A12: Giuseppe Ottaviani - "Something About You" (Feat Adriana Stone) (1 10)
- A13: Above & Beyond - "Heart Of Stone" (Feat Richard Bedford) (1 10)
- A14: Marlo & Mila Josef - "You Are Not Alone" (Tech Energy Mix) (1 10)
- A15: Gabry Ponte X Giuseppe Ottavinai - "In My Mind" (Feat Malou) (1 10)
- A16: David Forbes - "Alcazar" (1 10)
- A17: Layton Giordani X Tiga X Audion - "Let's Go Dancing" (0 43)
- B1: Armin Van Buuren - "Es Vedra" (1 10)
- B2: Above & Beyond - "Crazy Love" (Feat Zoe Johnston) (1 13)
- B3: Armin Van Buuren & Agents Of Time - "Love Is Eternity" (Feat Orkid) (1 13)
- B4: Semblance Smile - "Just Let Go" (1 13)
- B5: Camisra & Armin Van Buuren - "Let Me Show You" (1 13)
- B6: David Guetta & Mason - "Perfect (Exceeder)" (Vs Princess Superstar) (1 13)
- B7: Armin Van Buuren - "High On Love" (Feat Anne Gudrun) (1 13)
- B10: Laura Van Dam & Ginchy - "Save Me" (1 13)
- B11: Paul Van Dyk - "For An Angel" (Kolonie Remix) (1 13)
- B12: Armin Van Buuren - "Forever (Stay Like This)" (Feat Goodboys - Club Mix) (0 36)
- B13: Oliver Heldens & Armin Van Buuren - "Freedom" (Feat Sam Harper) (0 47)
- B14: Armin Van Buuren, Ferry Corsten, Rank 1 & Ruben De Ronde - "Destination" (A State Of Trance 2024 Anthem) (0 34)
- B15: Giuseppe Ottaviani & Lasada - "Leave You There" (0 39)
- B16: Cosmic Gate & Christian Burns - "Brave" (Sean Tyas Remix) (0 47)
- B17: Daxson - "Elysium" (Transmission Theme 2024) (1 05)
- B18: Ilan Bluestone - "Echoes Of Courage" (0 38)
- B19: Giuseppe Ottaviani X Lea Key - "In The Silence" (0 51)
- B20: Armin Van Buuren - "Part Of Me" (Feat Louis Iii) (0 34)
- C1: Joris Voorn & Avira - "The Orange Theme" (1 00)
- C2: Avira - "Hot Tub Time Machine" (1 12)
- C3: Armin Van Buuren & Ahmed Helmy - "Racing Spirit" (1 21)
- C4: Protoculture - "Starfield" (1 21)
- C5: Artbat & Armin Van Buuren - "Take Off" (1 21)
- C6: Matt Fax - "Raven" (1 21)
- C7: Ferry Corsten X Marsh - "Fulfillment" (1 21)
- C8: Ahmed Helmy - "R4Ve 301" (1 21)
- C9: Andrew Rayel Presents Aether - "Memoria Eterna" (1 21)
- C10: Krevix & Hadriani - "Your Life" (0 54)
- C11: Sharam - "Patt (Party All The Time)" (Adam Beyer, Layton Giordani & Green Velvet Remix) (0 47)
- C12: Mauro Picotto - "Lizard" (Dan Cooper Remix) (0 46)
- C13: Ferry Corsten & Superstrings - "Remember" (0 47)
- C14: Craig Connelly & Nicholas Gunn - "Miss You" (Feat Alina Renae) (0 44)
- C15: Aly & Fila, Philippe El Sisi, Omar Sherif - "Count On Me" (With Jaren) (0 42)
- B8: Orjan Nilsen - "Ashore" (1 13)
- C16: Ben Gold & Bo Bruce - "Half Light" (0 52)
- C17: Ferry Corsten - "Just Breathe" (0 45)
- C18: Eddie Makabi - "Ecstasy" (Feat Einat - Allen Watts Remix) (1 06)
- C19: Factor B - "The Girl With Her Head In The Clouds" (Ellie Song) (0 48)
- D1: Ben Hemsley - "Tidal" (Feat Rose Gray - The Euphoric Mix) (1 03)
- D2: Armin Van Buuren - "Bed Of Rain" (Feat Mila Josef) (1 10)
- D3: Paul Van Dyk & Sue Mclaren - "Love Is Enough" (Shine Mix) (1 10)
- D4: Armin Van Buuren & Hardwell - "Follow The Light" (1 10)
- D5: Allen Watts Presents Awaken - "Fragments" (1 10)
- D6: Maarten De Jong - "Kanua" (1 10)
- D7: Ram & Richard Durand Presents Digital Culture - "Follow Me 2024" (Vs Space Frog & Derb) (1 10)
- D8: Matty Ralph - "Dreaming" (1 10)
- D9: Armin Van Buuren & Gryffin - "What Took You So Long" (1 10)
- D10: Aly & Fila X Lostly - "The Unknown" (1 10)
- D11: Daxson & Nation Of One - "Now Or Never" (Craig Connelly Remix) (0 45)
- D12: C-Systems - "Voyager" (0 47)
- D13: Andrew Rayel - "The Abyss" (0 51)
- D14: Aly & Fila With Ferry Tayle - "Concorde" (Cris Grey Remix) (0 52)
- D15: Armin Van Buuren X Hi-Lo - "Now Love Will Begin" (0 49)
- D16: Armin Van Buuren & Ben Hemsley - "Is It Beautiful" (Feat Lucy Pullin - A State Of Trance 2025 Anthem) (0 47)
- D17: Xijaro & Pitch - "The Path" (0 48)
- D18: Alex Morph - "Ava Mariae" (0 55)
- D19: Richard Durand & Nicholas Gunn - "About A Love" (Feat Jordan Grace) (1 00)
- D20: John O'callaghan, Paul Skelton & Ren Faye - "May The Road Rise" (1 08)
- E1: Cold Blue - "The Great Awakening" (1 03)
- E2: Trance Wax - "Ascend" (Sneijder Remix) (1 07)
- B9: Hel Slowed X Jnsn - "Want Me" (1:13)
- E3: Sneijder Remix - "Don't Stop" (Drums & Acid Mix) (1 07)
- E4: Allen Watts - "Elevate" (1 07)
- E5: John O'callaghan & Alex Holmes - "Devotion" (1 07)
- E6: Miyuki & Jennifer Rene - "Our Song" (1 07)
- E7: River - "I Can't Sleep" (1 07)
- E8: Will Atkinson - "High On The Low" (1 07)
- E9: Craig Connelly & Cari - "Breathe Again" (1 07)
- E10: Aly & Fila & Richard Durand - "Nebula" (1 07)
- E11: Armin Van Buuren & David Guetta - "In The Dark" (Feat Aldae) (1 07)
- E12: Bryan Kearney - "You Will Never Be Forgotten" (Lostly Remix) (1 07)
- E13: Armin Van Buuren X Vize X Leony - "City Lights" (1 07)
- E14: Talla 2Xlc & Fragma - "Toca's Miracle" (1 07)
- E15: Factor B - "A Gift To The Earth" (1 07)
- E16: Alexander De Roy & Hidden Tigress - "Intention" (Eximinds Remix) (1 07)
- E17: Lange - "Drifting Away" (Feat Skye - Drifting Away) (1 07)
- E18: Drifting Away - "Viva L'opera" (0 57)
- F1: Armin Van Buuren & W&W - "Late Checkout" (1 06)
- F2: Ben Gold - "Diving Faces" (1 08)
- F3: Felix - "Don't You Want Me" (Ki/Ki Remix) (1 08)
- F4: Elley Duhe & Whethan - "Money On The Dash" (Armin Van Buuren Remix) (1 08)
- F5: Ben Gold & Scott Mac - "Damager 24" (1 08)
- F6: Gabry Ponte & Le Shuuk - "Psychotek" (1 08)
- F7: Hi-Lo & Maddix - "My Fantasy" (1 08)
- F8: Ben Nicky, Hannah Laing & Paul Findlay X Signum - "Coming On Strong" (Feat Scott Mac - Trance Mix) (1 08)
- F9: Bryan Kearney - "Angel Child" (1 08)
- F10: 0Gravity - "Take My Breath" (1 08)
f11 FLRNTN, Benjamin Duchenne - "Last Man Standing" (feat Sivan) (1:08)
f12 Nicholas Gunn & Harshil Kamdar - "Here I Am" (feat Alina Renae - Richard Durand remix) (1:08)
f13 DJ TH X TH3 ONE X Sue McLaren - "Everything To Me" (1:08)
f14 Matty Ralph - "Te Adoro" (1:08)
f15 Armin Van Buuren & Vini Vici - "Sarabande" (feat Anna Timofei) (1:08)
f16 Lilly Palmer - "Hare Ram" (1:08)
f17 David Forbes - "Techno Is My Only Drug" (1:08)
f18 Armin Van Buuren - "Blah Blah Blah" (Lilly Palmer remix) (1:08)
f19 Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year mix 2024 outro) (1:14)
- A1: Hit Man
- A2: You're Billy
- A3: Animal Abandon
- A4: Madison
- A5: Cabbage Alley
- A6: It's So Weird
- B1: We Don't Have A Choice
- B2: A Personal Attack
- B3: Superego
- B4: Not Technically Divorced
- B5: What's Our Story?
- B6: All Pie Is Good Pie
Mutant, in partnership with Netflix, are proud to present Graham Raynold’s score to Richard Linklater’s film HIT MAN.
A Romantic Comedy Noir, loosely based on the true story of a nebbish philosophy professor named Gary Johnson who moonlighted as an undercover police officer, HIT MAN is Richard Linklater and Glen Powell’s meditation on identity. Linklater, a filmmaker who has shapeshifted many times over his storied three decades of storytelling, has reteamed with his frequent music collaborator Graham Reynolds, to produce a jazzy, romantic, dark, and playful score.
Reynolds has worked in each of these modes before with Linklater, but never all at the same time. It stands defiant in contrast the version of the Gary that we meet at the beginning of the film - allowing the character to meet the score on its level by the time we approach the twisted finale. This score proves that genre, like identity, can be a limitation placed on both films and film music.
This physical release is limited to 500 copies worldwide, and features a forward by Graham Reynolds and packaging designed by Mutant co-founder Mo Shafeek.
Franco Rosso’s epic cinematic opus of reggae social commentary, Babylon, landed in November of 1980. Moving through the film’s opening frames of grey dreary London, two spars – Blue and Ronnie – run with unrestrained anticipation to link with their Ital Lion Sound System brethren. Simultaneously the rest of the crew does what sound crews have done from time: Load them boxes up in the van and trod with vigor to the dance.
But that bassline…The soundtrack notes that carry the celluloid movements of the film’s opening scenes…That bassline…Upside down…Jazzy…Dubby…A bassline like no other reggae bassline the Ital Counselor has ever heard. The hook that got me deep into UK roots music from the band that is my number one inspiration.
If there is bassline that represents the core imperative of Ital Counselor Records, it would have to be Aswad’s Hey Jah Children. It seemed therefore only fitting to bring its absolutely resplendent glory to a new generation. Lovers of sounds and blues, it is time for the dread ital lion sound to once again rise to meet the day. So it is with the deepest of gratitude and respect to the legacy of Aswad (RIP Drummie Zeb) and Franco Rosso, that we present a deeper than deep next cut…Christened here…the Ital Lion Serenade.
In line with all IC releases, we have enlisted top tier session musicians and studio men. Long time IC collaborator, Inyaki BDF, is at the center of the action as the musical maestro. Hopping on the BDF sonic lorry are Aratz Diez on Trombone and James Zugasti on the dub mixes. This crew bring the original composition up-to-date with a heady dubwise weight. Syndrums ricochet while Inyaki’s bassline rumbles teetering as it does somewhere between a modern dubstep warble and its core roots-wise influence in Tony Gad’s original playing.
Diez’s trombone playing comes across like an x-ray of the Aswad Horn Section and keeps intact the jazzy abstraction of the original. In turn, Inyaki goes full 70s synth on the psychedelic dubwise of the B-side’s Operation Swamp 81. UK history buffs better you know the reference in that title and its thematic echoing significance from the UK depicted in Rosso’s film and carried on in remembrance on this here hotter than hot 12”.
A warning: the Zugasti dub cuts are devasting to speaker boxes.
- Bye Bye Love
- You Don't Know Me
- Half As Much
- I Love You So Much It Hurts
- Just A Little Lovin
- Born To Lose
- Worried Mind
- It Makes No Difference
- You Win Again
- Careless Love
- I Can't Stop Loving You
- Hey, Good Looking
- I'm Moving On
- At The Club
- You Are My Sunshine
- No Letter Today
- Someday (You'll Want Me To Want You)
- Don't Tell Me Your Troubles
- Midnight
- Oh, Lonesome Me
- Take These Chains From My Heart
- Your Cheating Heart
- Making Believe
- Teardrops In My Heart
- Hard Hearted Hannah
- Don't Let The Sun Catch You Cryin
- Hang Your Head In Shame
Modern Sounds in Country and Western Music Vol. 1 is a studio album by American singer and pianist Ray Charles. It was recorded in February 1962 at Capitol Studios in New York City. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz. Charles produced the album with Sid Feller and performed alongside saxophonist Hank Crawford, a string section conducted by Marty Paich, and a big band arranged by Gil Fuller and Gerald Wilson. Modern Sounds in Country and Western Music Vol. 2 features one side performed by the Ray Charles Big Band with the Raelettes, while the other side features a string section and the Jack Halloran Singers. Including "I Can't Stop Loving You", Bye Bye Love", "Half As Much", "You Win Again", "Careless Love", “You Are My Sunshine” and many more.
- Georgia On My Mind
- Hit The Road Jack
- I've Got A Woman
- You Don't Know Me
- What'd I Say
- I Can't Stop Loving You
- (Night Time Is) The Right Time
- Come Rain Or Come Shine
- Take These Chains From My Heart
- Let The Good Times Roll
- Lonely Avenue
- Baby, It's Cold Outside (With Betty Carter)
- Unchain My Heart
- Born To Lose
- One Mint Julep
- Hide 'Nor Hair
- Ruby
- You Are My Sunshine
- Your Cheating Heart
- Sticks And Stones
- Them That Got
- I've Got News For You
- But On The Other Hand Baby
- I'm Movin' On
An accomplished musician and songwriter, Ray Charles was considered the creator of the soul music genre, a unique R&B forerunner to rock ‘n roll and other musical offspring. During a career that spanned some 58 years, Charles performed a total of more than 10,000 concerts, and starred on over 100 albums, many of them top sellers in a variety of musical genres. On this compilation you will find twenty four of his greatest hits. With “Georgia On My Mind”, “Hit The Road Jack”, “I’ve Got A Woman”, “I Can’t Stop Loving You”, “I’ve Got News For You” and many more.








































