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Second Album of Gaznevada originnally released in 1980...Disordine re-issue , 2019 official license from Italian Records.

Second Album of Gaznevada originnally released in 1980...Disordine re-issue , 2019 official license from Italian Records.

• “Choctaw Ridge” explores a new country sound, one that emerged at the end of the 60s in the wake of Bobbie Gentry’s ‘Ode To Billie Joe’, a shock number one hit in 1967. When singers like Gentry, Jimmy Webb, Michael Nesmith and Lee Hazlewood moved from the south to Los Angeles to make it in the music business, they were not part of the Nashville in-crowd and they forged a new direction.

• ‘Ode To Billie Joe’ was the tip of the iceberg, and its success helped a bunch of singers and storytellers to emerge over the next three or four years. Some of the tracks on this collection bear that song’s stamp more clearly than others: Sammi Smith’s moody ‘Saunders’ Ferry Lane’ had a similar mystery lyric, and Henson Cargill’s ‘Four Shades Of Love’ is a portmanteau, with one (or possibly two) of the theoretically romantic situations ending in death.

• Suddenly, character sketches of southerners became a lot more rounded – women didn’t have to stay home, or take abuse at the office, and darkness wasn’t only found at the bottom of a bottle. Storytelling is the link between all of the songs on this collection. We have cautionary tales about what could happen to someone who heads for the bright lights and doesn’t make it, ending up in the grasping hands of ‘Mr Walker’ (Billie Joe Spears), or on the ‘Back Side Of Dallas’ (Jeannie C Reilly), or on a mortuary slab in the case of the songwriter with the ‘Fabulous Body And Smile’ (Robert Charles Griggs). And there are stories about wanting to go home – Nat Stuckey’s ‘What Am I Doing In LA?’ and Charlie Rich’s ‘Feel Like Going Home’ – and others from Ed Bruce and Lee Hazlewood, who know that their home isn’t home anymore.

• The tracklist and fulsome sleeve notes have been put together by Bob Stanley (Saint Etienne) and Martin Green (Smashing, The Sound Gallery), who have been collecting these records for decades.

• The voices are resonant and relatable, and the productions take in the best of what pop had to offer in the late 60s and early 70s. Before the factionalism between smooth pop-conscious Nashville and the hedonistic ‘outlaws’ made it look inward again, this was a golden era for an atmospheric, inclusive and progressive country music. It began on the third of June, another sleepy, dusty Delta day.

Adam Gibbons, the artist & producer behind Lack of Afro and The Damn Straights, is set to release The Last Bastion OST, a cinematic, funk & soul soundtrack to a film that has yet, and may never, be made. Encompassing lush string and horn arrangements, the project will be released in three parts, with the full soundtrack coming out on limited edition, red vinyl this summer. Having originally got into music with the idea of scoring for films, The Last Bastion sees Adam fulfilling something of a long-held ambition.

"Long before all the Lack of Afro stuff took over, being a film composer was all I wanted to do. All my heroes were composers - guys like John Barry, John Williams & Thomas Newman and more recently David Holmes, Daniel Pemberton and Ludwig Goransson. There is something magical about a great film score - it adds so much to the cinematic experience in every way imaginable. I was always drawn to what the music was doing and I was fascinated by the guys who were the composers of the magic.”

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

With the Buena Vista Stars, including Candido Fabre. Based on a true story and filmed in the exotic countryside outside Havana, this remarkable and engaging film will move both your spirit and your feet with its unforgettable passion and intoxicating music. The soundtrack and live performances in the film include some of the legendary Cuban artists who appeared in the box office smash, Buena Vista Social Club.

MAMBO MAN is packed with musical contributions from Cuban legends including; Candido Fabre, Maria Ochoa, Alma Latina, David Alvarez, Arturo Jorge, Omara Portuondo, Eliades Ochoa, Juan De Marcos Gonzalez and the Afro-Cuban All Stars.

REVIEWS Rome Prisma Independent Film Awards

“There is rather the mature and conscious gaze of two authors who want to represent Cuba, and the story of the protagonist, with truth and love. With this awareness, each shot conveys a charm superior to that of a good staging. This film, made with passion, penetrates the audience to the rhythm of music and tells us about a whole, small, precious universe, absorbing its beauty and misery. “Mambo Man” is a bit like Cuba: beautiful, kind and melancholic.”

J.B. Spins, Joe Bendel

“It’s a dynamic, colourful film, with bustling markets, lively clubs, friendly outdoor cafes, and—best of all—a remarkable soundtrack of classic Cuban music, which is a focal point of the film.”

Celebrating 10 years since his first album, Tom Williams releases his most
eclectic project to date. ‘Follow The Leader’ represents a departure from
his previous output, and is comprised of a collection of songs which
comment on pre- and post-lockdown life, providing beautifully crafted
snapshots of modern Britain.
Having released six studio albums to date, Tom Williams has built a passionate
fanbase of discerning music lovers since his first album, Tom Williams & The
Boat’s ‘Too Slow’ ten years ago.
His 2017 album ‘All Change’ was voted by BBC 6 Music Recommends as one of
their Top Ten Albums Of The Year, and his last album 2019’s ‘What Did You Want
To Be?’ which was produced by Tim Rice-Oxley, was described by The Guardian
as “surging, vintage pop-rock” and championed extensively by Jo Whiley at BBC
Radio 2, Steve Lamacq and Lauren Laverne at BBC 6 Music, Huw Stephens at
Radio 1, Q Magazine and Clash. ‘Follow The Leader’ signifies a departure from
Williams’ previous output.
Self-produced, the album boasts rich orchestral sounds and full band performances, mixed with claustrophobic drum machines, synthesizers and deep sub
bass sounds.

MAT is proud to announce the forthcoming release of ‘The Side I Never See’, by Hugh Small & Brian Allen Simon. Hugh forms half of Scottish post-punk duo Vazz, whose work was the subject of a recent retrospective by Belgian label Stroom. Brian is known best for his solo project Anenon, under which name he has released four full length albums and multiple remixes for artists including Ryuichi Sakamoto.

An improvised recording of Brian playing over the Vazz piece ‘Kazimierz’ catalysed this long-distance collaboration; 2000 feet up a mountain in Andalucia, Hugh heard the recording on a broadcast of Brian’s dublab LA radio show. Immediately taken in by Brian’s playing, the pair soon established contact and began discussing the possibility of working to create something new together.

The rest, as they say, is history: the results are fully realised in ‘The Side I Never See’, a shimmering suite of ten compositions for piano, soprano saxophone, synthesizer and guitar. In Hughs words… ‘so, what is it? It’s Ambient-Punk, Abstract-Jazz, Disaffected-Classical, it’s whatever the fuck you want it to be!’ :-)

‘The Side I Never See’ will be released on Melody As Truth in early August 2021, as always on vinyl and digital. Mastered by Stephan Mathieu, Artwork by Michael Willis.

WOLF Music welcomes Amsterdam’s Retromigration to the family with a five-track summertime sizzler, ready-made for hazy parkside sunsets and beach jaunts alike.

Hotly tipped and rarely skipped, Retromigration has been lighting up the scene with a string of killer releases over the past 18 months on labels like Healthy Scratch, Ltd, W/Lbl, GLBDOM and Ravanelli Disco Club.

Flexin’ that signature chopped and looped style across the EP, the A side is a double dose of house joints via ‘Bloom Street’ and ‘Brining It’, the former a bumpin’ New York nodding cut, the latter an synth heavy roller.

Flip it to find a more jazz-tinged affair but with its feet still firmly in the house domain. ‘Free Spirit’ channels a groove that could last forever, with a bass and keys combo that riffs away any creeping anxieties, before Arthur Dudley joins for ‘One Night With Colin’ a late night, smoked out, jazz joint trip.

‘Slick Walkin’' closes out the EP – a lesson in how to make samples dance any which way you want them to, as piano melodies flicker over a double nice bassline and tasty synth touches.

After releasing some unreleased material by Christopher last year (go buy this now if you dont have it), we now also present you with a reissue of a rare little boogiefunk 45 recorded at Music America Studio, Rochester, New York circa 1987. Recorded, Produced and Performed by Christopher Jay, wonky and charming is the order of the day, I rate this 45 a lot. For this 45 we decided to gift you a picture sleeve of the very cool OG artwork.

There’s liberation on the dance floor in the songs of Matthew Urango – glimpses of revolution that glimmer beneath the disco ball. “I want my music to bring people together,” says the Californian pop innovator, best known as Cola Boyy. “Because standing together is our best chance at fighting this shit show.” The shit show in question is a broken, brutal system the acclaimed multi-instrumentalist has witnessed up-close. Urango was born with spina bifida and scoliosis in Oxnard, California: a town in which almost 30,000 are estimated to live in poverty. Prosthetic Boombox, his eagerly awaited debut album, might at first glance seem a joyous confetti-burst of pop eclecticism, engineered to sound like “scanning between stations on a car radio, landing on all these different sounds and styles” as Urango puts it. Dig deeper, though, and you’ll discover a simmering sense of rebellion. “The working class are injured, struggling to pay rent and struggling to put food on the table,” he says. “I want to represent that.” Prosthetic Boombox
achieves that goal in a thrilling flurry of inventive indie, funk and soul: take Urango’s car radio analogy, place it in a time-travelling Delorean with Prince in the passenger seat, and you’re half-way there.

Look no closer than Prosthetic Boombox’s euphoric opener, the Avalanches-assisted ‘Don’t Forget Your Neighbourhood.’ The track – which Urango says mixes “the Beach Boys, French disco, house keys and ragtime piano, kinda like the Cheers soundtrack!” – ends with lyrics urging listeners to “fight for your town with your fist closed, strike it and make it more than just a memory.” It’s a reminder that the working classes need to “turn our fists against our oppressors instead of each other,” he explains. After that emphatic introduction comes a horn-laced funk wig-out titled ‘Mailbox’ – a song that gives Dua Lipa’s Future Nostalgia a run for its Studio 54-themed money, featuring rising Londoner JGrrey. Elsewhere, ‘Song for the Mister’ ventures into smooth R&B territory, before ‘Roses’ – a collaboration with Myd of Ed Banger fame – offers a bouquet of bustling disco guitars and infinite bisous of Connan Mockasin’s band drops in on the immaculate ‘Go the Mile’. Urango saves his most introspective moment for the album’s starry closer. ‘Kid Born in Space’, a cosmic collaboration with MGMT frontman Andrew VanWyngarden, sees the artist reflect on what he once had to overcome as a disabled person of colour. “I see them looking down on my dreams of being,” he sings tenderly. “I hear them making fun of my voice, but I keep on moving forward, I refuse to live in anyone else’s shadow.” Prosthetic Boombox, on this subject, is more than an album title – it’s a statement of intent.

“The message of my music is that our class is exploited, oppressed and murdered on the daily. That’s not right, and the system that enables that deserves to be wiped off the face of the earth,” he says. “The only way that happens is if we’re united. That’s the point of my music – to relate to people and unite them.” And what unites more than raucous, irresistibly danceable pop? Prosthetic Boombox is a riot of joyous grooves and catchy hooks for good reason. “I want to reach and spread my message to as many people as possible. You can’t do that if you’re some obscure motherfucker, you know?” he laughs. Don’t bet on him being an “obscure motherfucker” for long.

A first-time replica re-issue of a highly sought-after, rare Brazilian MPB / Funk nugget from 1974.

Brazilian 7" singles or compacts sometimes get a bit overlooked outside of the world of avid Brazilian collectors and DJs, but here are where some of the most exquisite jewels of Brazil's rich musical tapestry lie.

This release has been a long time in the works, but now finally we are thrilled to present a replica version of one of our favourite Brazilian 7”s - the outstanding 'Morro Do Barraco Sem Água' by Lemos E Debétio (aka Toninho Lemos & Paulo Debétio). Discovering tracks like 'Morro Do Barraco Sem Água' makes you want to go the extra mile. You spend that little bit more time than is rational examining and dusting off a stack of 7”s hunting for an elusive gem, or end up disappearing down an Internet wormhole eating into time you don’t have before you need to be up for work again in the morning. This is a calculated effort, as the reward of the revitalising musical vitamins that you've stumbled upon are the big pay off.

'Morro Do Barraco Sem Água’ was originally released on Odeon Records in 1974, and even though this was a major record label it remains extremely hard to find. From the first moment the needle hits the groove with its guitar and drum break intro you know the song is special. A feel-good addictive melody with fantastic swooping arrangements and a pulsating funk backbeat, which is over all too soon. We hope you enjoy this audio treasure as much as we do!!!

The International Feel label is back from an extended meditation. Well-rested and with a cornucopia of new ideas and records, IFeel is happy to announce the debut album from Charlie Charlie as the starting shot. „Little Things“ is the brainchild of Gabriella Borbély alias Bella Boo and Jens Resch better known as Chords. Born on a beach in Southern California instead of their hometown Stockholm, it is exactly what you would hope for such a record to be: pop music that is informed by hippie or counter culture and by a Balearic ethos (hence the International Feel address) that is free of blinkered definitions. In equal parts, the duo’s ten songs take the listener through honey dripping r&b, while respelling that certain Californian recording studio sound aesthetic, revisit vintage yacht rock and pop tropes as well as they are reflecting dance music influences in a broken, yet gold framed mirror. Most of all, it’s like a day dream that you don’t want to end. To quote our Italian friends from Edizioni Mondo: good listening experience!

Band info:
Charlie is Gabriella Borbély – also known as Stockholm's deep house virtuoso Bella Boo. Charlie is Jens Resch – also known as prodigious producer/musician Chords. The two Charlies met on a beach in Southern California and immediately decided to write a song together.
That first track was built on the sampled sounds of a rusty drainpipe. Charlie fired up a dusty ARP Odyssey and played a woozy solo over the drainpipe beats, then the other Charlie did the same, using that same legendary 70's analogue synth. When they realized the two separately recorded solos played together in perfect harmony, they knew they had to keep heading down their newly found, shared musical path.
Charlie & Charlie have since continued making music together, describing their common process as liberating, free-flowing, genre-less. "Little Things", their debut album, is made up of tracks recorded in Los Angeles and Stockholm, using that very same ARP as well as pianos, electric guitars and machines like the Prophet 6, the Juno-106 and the Syncussion SY-1. Vocal contributions come from the Charlies themselves as well as friends like Mapei and Julimar Santos.

If Shelter swam through the serene side of the Library experience on GBR016, CV Vision blasts off in the opposite direction, riding an explosion of funk breaks and frazzled synths into the event horizon on his retro-futurist opus ‘Insolita’.

As contemporary life accelerates way past peak-weird, CV Vision leans into uncertainty and leaves Earth in the rear-view. Strung out on Simulacron-3, World On A Wire and Omaggio Ad Einstein, the Berlin-based musician imagines his own Brave New World, an alternate eXistenZ in a secret simulation.

Using the space age obsession of the Italian libraries as a launch pad, Dennis Schulze slathers a sonic storyboard with ferocious percussion, psychedelic fuzz and the pastoral electronics of Germany’s Kosmische movement. But this is less Can, more uncanny - and Schulze perfectly renders the cognitive estrangement of a simulated reality through his adventurous production. The monolithic live drums, recorded in a Neukölln garage on a battered Soviet kit are smeared with tape hiss, compressed to death and fired through LFOs, re-materialising on record in impossible scale. Time slips out of joint under the wow and flutter of the reel to reel, drum computers add digital interference to organic rhythms and the unfaltering slew of the 303 lends the hallucinatory thrill of the club sound system to an already psychedelic affair.

As Schulze’s imagination runs free, we’re taken through epic space battles and narrow escapes, moments of reflection and affection and a final resolution, all expressed through a dexterous control of movement and mood. For every explosion of break-fuelled adrenaline, there’s a cruise into cryo-chamber music and holodeck exotica. For each neck-snapping blast of acid funk, there’s a zero gravity lullaby waiting just around the corner.

So put isolation on ice and surrender to the strange, this is a trip you don’t want to end.

Repress on black vinyl, comes in Flatlfife label sleeve.

The 4th acid compilation is definitely a collectible! With an explicit track from Eat Static which is produced back in the 90s and has that oldschool goa touch and rave breakbeats - we love it!!! 303 Airline has his tribute on Flatlife with an excellent pounding acid techno banger which can be played loud in clubs. Together on the A-side with DJ Wank; a great acid techno producer from Sweden; pounding driving acid techno. Then last but not least; label owners Jack Wax (Flatlife Records) & Sam C. (Dosis Decibel / Cat in the Bag) team up; with this excellent dark acidcore track "Missing" - which is the 1st track they ever created together!! 4 styles of acid again on 1 vinyl! Enjoy this one!!!

Housed in a label sleeve and comes on solid blue and yellow mixed vinyl.

• Step By Step are a 12 piece Milwaukee soul band and this is a rare album from the group
• Classic Brunswick album with a mix of breakbeats and harmonies that are in-demand
• Highlights from the album include the club classic title track plus ‘Cash Money’ and ‘I’m Glad’
• Originally released in 1977, this reissue has been pressed on 140g black vinyl with original artwork
and printed inner sleeve

The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases.
‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima.
Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang!
Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe.
Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’

“I don’t want to be a product of my environment. I want my environment to be a product of me.” The debut LP from Ocean City Maryland’s Jarhead Fertilizer is a hot dose in your veins. Our modern dystopian reality meets a brutal mixture of death and grind with primitive groove with blistering low end. On Product of My Environment, Jarhead Fertilizer makes a simple statement. Death is easy. Life is hard

'Funny Cow charts the rise to stardom of a female comedienne through the 1970's and 1980's. It is set against the backdrop of
working men's clubs and the stand-up comedy circuit of the North of England. From her troubled childhood to her turbulent adult
relationships, the Funny Cow uses the raw material of her life experiences to bring her unique style of comedy to the stage. A
stand-up comedienne in an all-male world, Funny Cow delivers tragedy and comedy in equal measure. The film stars Maxine Peake,
Paddy Considine, Tony Pitts, Alun Armstrong and Stephen Graham, is directed by Adrian Shergold and produced by Kevin Proctor
and Mark Vennis. Richard Hawley, Corinne Bailey Rae and Ollie Trevers all appear in the film. Richard wrote the title track 'Funny
Cow', 'A Little Bit More' and, with Mark Sheridan, the duet with Corinne Bailey Rae 'I Still Want You'. He also wrote the
instrumentals 'Laundrette Accordian', 'Leaving Mike's House'. 'Walking Round The Bookshop', and 'End Hospital Sequence' and 'End
Sequence', which all feature in the film. Ollie wrote the songs 'Twist It Shake It', 'From Then Til Now', 'Bad But Good' and
'Nightmare In Paradise' and again, all feature in the film.

• 20 acoustic tracks, compiled as an acoustic best-of album.
• The new album builds on the popularity of a previous acoustic album, Simply Eva (12 tracks), released 10 years ago, which has UK scanned sales of 236K and was Top 5 on release.
• The 3rd Jan 2021 was the 25th anniversary of Eva Cassidy’s legendary Blues Alley concert. A new documentary, “One Night That Changed Everything” was premiered on the anniversary itself with a general promotional campaign around this date.
• The 18th March 2021 is the 20th anniversary of the Songbird album going No.1, there will be a promotional campaign in support.