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On their most explicit venture into music for moving image, Miles Whittaker & Sean Canty rudely fracture piano and vocal recordings by US filmmaker-musician Kristen Pilon in a short-circuiting of style and pattern.

Shredding up definitions of electro-acoustic opera, spectralist chamber musique and concrète rave, Demdike hit square between the eyes/ears of film music vernaculars on a startlingly strong addition to their unique oeuvre, now in its 16th year of elusive psychoacoustic strafes and jump-cuts across putative borders. The 13-part, hour-long album dislodges source material made for the experimental film ‘To Cut and Shoot’, by Kristen Pilon, an NYC-based musician and filmmaker, to farther refract the film’s themes of serendipity and the nature of ghosts and dreams with a flickering flux of sound-imagery and aleatoric weirdness appropriate to her original meditations, but also freely messing with their forms.

Situated just a few miles north of Houston, Cut and Shoot is a relatively insignificant Texas town with an unforgettably bizarre name. Pilon grew up not far from Cut and Shoot, and it's there where she ran into 65-year-old machinist and motorcyclist Robert Lewis Stevenson, better known as Bobbo, who's pictured on the album's cover. The meeting occurred a few months after Pilon recorded her improvisations on piano, strings and voice in the basement cellar of the Halle in Manchester, with Bobbo providing the necessary narrative heft the trio needed to inspire an experimental film and its accompanying soundtrack.

Responding to Kristen’s initial piano and operatic vocal recordings, Demdike return a volley of discrete parts tilting from typically cantankerous mayhem to quieter, more clandestine buzzes sliced with crazed interstices of the imagination, all marbled with the plasmic contrails of the paranormal which have long been peculiar to their work. With a poetic flair reflecting Pilon’s own phrasing and melding of mediums, Demdike unfold and expand her melodic fragments into temporal mazes, variously resembling the most messed-up ends of The Caretaker in ‘A Grave Fall (January)’, but also liable to skew into buckshot club turbulence, as with ‘Belly Up’, or the bittersweet bruk contortions of ‘Twist’.

The storyline wickedly frays and loops into itself with a non-linearity that recalls the mid-to-latter stages of Lynch’s ‘Mulholland Drive’ or waking from a sweaty fever dream only to pitch back into its thorny bush of ghosts, often within the space of one track. It’s testament to the ever-tighter binds of Demdike’s symbiotic vision that the results nevertheless hold a thread of logic that weaves in everything from their Jon Collin jams to reams of mixes and Gruppo edits with an unresolved, open-ended quality that still keeps us on our toes, perhaps more so than ever here.

Soul Jazz Records" Studio One Showcase 45 features a roll call of classic Studio One reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The Wailers, Jackie Mittoo, The Heptones, The Skatalites and more - seminal reggae artists who all launched their careers at the legendary Studio One label. The album was previously only ever released as a long-deleted limited-edition seven-inch box set for Record Store Day. This album has now been expanded into a super double-vinyl album edition as well as first time on CD, with both featuring a massive eight bonus tracks of wicked Studio One classics and rarities.

"Soundz of Freedom" is a classic album in Bob Sinclar"s discography. Certified gold, it"s now being reissued for the fist time as a double vinyl. Featuring : Axwell, Tocadisco, Ron Caroll, Jamie Lewis, Mousse T...

An imperial phase Actress commits a lushly amorphous installation piece made for the Berliner Festspiele to vinyl, rendering a post-industrial symphony full of iridescent shifts in gyring, OOBE-like spatial coordinates landing somewhere between nutopian ambient, kankyō ongaku and sawn-off bass science.

‘Grey Interiors’ was made in collaboration with Actual Objects and is an absorbing animation and navigation of those post-human ideals that have prompted Darren J. Cunningham to his best work across the preceding two decades. In its hypnagogic symphony of the elements, he short-circuits distinctions of classical music’s metric freedoms and the hyperspatial sensuality of concrète/electro-acoustic and ambient musics with an artistic license that has come to distinguish his work in the contemporary field, and arguably identified him as this generation’s most vital electronic abstractionist.

The first half of the album is bewitchingly airless, materialised in a twinkling vacuum. Naturalistic environmental recordings and a half-heard piano swirl around nauseous airlock whooshes and eerie bass drones. It's all pulverised to a powdery, shimmering residue; if Actress's music is defined by its character and texture - that sweet spot between the bedroom and the soundsystem - then this one advances the narrative without losing its backbone. And like a lot of his best work, it comes into its own on the back of zonked eyelids, conjuring a play of shifting geometric patterns within its imaginary physics and nuanced narration of ephemeral melodic phrasing and vaporous textures.

At about the halfway point, that dissociated piano finds its groove, coalescing into a jerky drum machine rhythm popping like bubbles in the stifling atmosphere. We can draw some intersecting lines here thru electronic music lore - traces of vintage AE, Push Button Objects, UR - but Actress always leaves an indelible fingerprint on anything he touches. Even when he's rubbing against the gallery-industrial complex, he manages to fill a stagnant space with electricity and wit; look at the title itself: is it a reference to the "landscape beyond man" as the installation's press release might have us believe, or the institutions themselves?

LP in printed inner sleeve. The Joy of Coincidences is the debut album from the intriguing Barcelona-born and raised musician and singer-songwriter of British and German descent. The songs are stories and related feelings that reflect upon mankind observed through our eyes in different circumstances. This reflection is told through intimate music coming from folk-inspired pop.



The Joy of Coincidences is the debut album from the intriguing Barcelona-born and raised musician and singer-songwriter of British and German descent. Within the midst of movement, noise and chaos of the city, Bianca Steck searched for calmness and silence in order to write these twelve songs. Whether in a bar, on a tram, under a tree in a park, on a bench or on the balcony of her little apartment in Brussels overlooking the square, there must always be room for curiosity regarding the world we live in. Hence, this album was born through her compelling need for a conscious observation of our society and surroundings.



The songs are stories and related feelings that reflect upon mankind observed through our eyes in different circumstances and the consequent understanding of ourselves along this process. This reflection is told through intimate music coming from folk-inspired pop. Rooted in classical tradition, Bianca Steck chooses instruments such as harp, cello, double bass, upright piano, and flugelhorn and blends these warm sounds with synths, omnichord, drums, electric bass... in a very delicate way in order to create a dreamy landscape of sound. This carefully chosen music together with lyrics that tell real down to earth stories seen through the eyes of her imaginary world are the realm of this work.



BiancaSteck sees coincidences as small and playful interruptions of our everyday concerns, of life. We live in extremely uncertain times where many worries reign over our minds and there needs to be some kind of lightheartedness to move forward, to survive. Within all this complex spiral of thoughts, in the Joy of Coincidences the essential seed of simplicity prevails over the existential crisis.



The album is produced together with Catalan pianist and composer Nil Ciuró and features guest appearance Hania Rani with whom Bianca Steck toured as a support act across London, Paris, Berlin, Utrecht, Antwerp and other European cities and venues.

All demos were recorded in her apartment in Brussels with very simple means and were later on recorded in a studio in the mountains of Catalunya.

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

NOW Music proudly presents NOW That’s What I Call Gold – The Ultimate Hits – this essential 3-LP set brings together 46 tracks by legendary artists with timeless anthems, celebrating some of the greatest hits of all time, including chart-topping classics and enduring favourites.



LP1 sets the stage with Queen’s electrifying ‘A Kind Of Magic’, followed by Philip Bailey & Phil Collins’ #1 ‘Easy Lover’. The Police feature with their #1 smash ‘Message In A Bottle’, while The Killers follow with their record-breaking anthem ‘Mr. Brightside’. The massive ‘Stick Season’ from Noah Kahan is up next before the first side finishes with Lana Del Rey’s stunning ‘Video Games’. Flip the LP over for contemporary classics from Coldplay and Duran Duran. Sinéad O’Connor’s ‘Nothing Compares 2 U’ still sounds raw and breath-taking and is followed by classics from the Pretenders, Shirley Bassey, Dusty Springfield, and Soft Cell’s ‘Tainted Love’, one of the best-selling UK singles of the ‘80s, whilst another of those closes out the first LP: Ultravox with their masterpiece, ‘Vienna’.



LP2 delivers a legendary lineup, including Billy Joel with his Grammy-winning ‘Just The Way You Are’ and Céline Dion’s powerful version of ‘All By Myself’. John Denver’s ‘Take Me Home, Country Roads’ and Paul Simon’s groundbreaking ‘Graceland’ are featured along with the pop genius of Electric Light Orchestra with ‘Last Train To London’. While on the other side timeless ballads from Elton John with ‘Tiny Dancer’ and Lewis Capaldi’s ‘Someone You Loved’ come ahead of Wings, Simply Red and ‘60s gems from Stevie Wonder, The Supremes and the peerless ‘Walk On By’ from Dionne Warwick.



LP3 opens with Neil Diamond’s universally beloved singalong anthem, ‘Sweet Caroline’ and Cliff Richard’s mid-70s classic, ‘Devil Woman’. Disco legends Donna Summer (‘MacArthur Park’) and Gloria Gaynor (‘I Will Survive’), lead into Sophie Ellis Bextor’s ‘Murder On The Dancefloor’ which became a smash for the second time recently. Ed Sheeran and Pharrell Williams had enduringly popular hits with ‘Galway Girl’ and ‘Happy’, and the side closes with the harmonic vocals of All-4-One and their beautiful signature song ‘I Swear’. The final side is packed with anthemic and uplifting classics kicking off with Spandau Ballet’s ‘Gold’, Survivor’s ‘Eye Of The Tiger’, and Take That’s soaring ‘Rule The World’. The remainder of the collection celebrates and showcases some of the ‘70s greatest tracks including Bonnie Tyler’s ‘Lost In France’, Marianne Faithfull’s poignant ‘The Ballad Of Lucy Jordan’ and Blondie’s era-defining and genre-defying #1 ‘Heart Of Glass’.



NOW That’s What I Call Gold is a must-have for all music lovers —packed with legendary artists, timeless hits, and unforgettable moments in pop. Don’t miss out on this golden treasure trove of musical brilliance!

Der Grammy-nominierte Produzent und musikalische Visionär, Benjamin David aka Mild Minds, veröffentlicht sein zweites Album, „GEMINI“ über ODESZAs Label Foreign Family Collective.

Während Mild Minds 2020 erschienenes Debütalbum, „MOOD“, eine kreative Offenbarung und eine risikofreudige Abkehr von seiner Arbeit hinter den Kulissen darstellte, ist „GEMINI“ ein Zeugnis dessen, dass sich dieser künstlerische Sprung gelohnt hat. Das Album verweist auf die Underground-Clubmusik der Jahrhundertwende und verwendet Breaks, luftige Pads und abgehackte R&B-Samples aus den 2000erJahren, neben frühen Trance-Einflüssen und ätherischen Vocals. Diese klangliche Grundlage schafft auf dem Album einen beispiellosen Dialog zwischen cluborientierten Elementen und melancholischen Emotionen, die in der Dance-Musik selten erforscht werden. Das Album zeigt Benjamin Davids Entwicklung als Produzent und vertieft die Überschneidung von organischen und elektronischen Soundscapes, die zum Markenzeichen seines Projekts, Mild Minds, geworden sind. Der neueste Teil der Geschichte, die mit „GEMINI“ erzählt werden soll, demonstriert die Fähigkeit von Mild Minds, komplexe, emotionsgeladene Kompositionen zu schaffen, die sowohl auf der zerebralen als auch auf der viszeralen Ebene bei seinen Hörer:innen ankommen.

Format: Transparentes Vinyl (140G) inkl. Downloadcode

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through its Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better. What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on. On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

White LP. Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records, who released the band's debut release S/T EP (1984) and their only full-length album, Just Keep Eating (1986). The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. After playing a total of 146 shows, Scratch Acid broke up after the long tour that followed the release of the Berserker EP (Touch and Go Records, 1987). Since that time, the band have had many imitators, and many alternative bands have cited Scratch Acid as one of their influences.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. The band's eventual permanent line-up consisted of David Yow on vocals, Brett Bradford on guitar, David Wm. Sims on bass, and Rey Washam on drums. During their brief existence from 1982 to 1987, the band released 3 records, including a full-length album (Just Keep Eating) and two EPs (S/T EP, Berserker). On March 14, 2025, Touch and Go Records will release the Scratch Acid Box Set - limited to 2000 sets worldwide. Remastered by Bob Weston at Chicago Mastering Service, the box set includes 180-gram clear LP pressings of all three releases as well as a 24-page booklet featuring exclusive behind-the-scenes photos, liner notes by David Yow, Brett Bradford, and photographer/journalist Pat Blashill, as well as full-color paintings by contemporary artist Mark Todd from the same era as the cover art for the S/T EP and Berserker releases. In addition, this limited Scratch Acid box set includes an exclusive clear vinyl 7" with both tracks the band contributed to the 1986 Touch and Go Records compilation, God's Favorite Dog. The 7-inch includes cover art by Mark Todd as well.

Endlich zum ersten Mal auf Vinyl erhältlich, die My First Holly Golightly Album CD Compilation von vor zwanzig Jahren! Eine 14-Track-Compilation, inspiriert von der damaligen Live-Show von Holly Golightly. Diese Zusammenstellung enthält Hollys Lieblingssongs von ihrem Debütalbum The Good Things aus dem Jahr 1995 bis hin zu ihrem Album Slowly but Surely von 2004. Außerdem enthält sie vier exklusive Tracks, die eigens für dieses Album aufgenommen wurden.

Fourth Page: Meaning of a Nest is the highly anticipated fourth studio album, and second with Edition Records, by renowned South Korean/ Amsterdam based drummer and visionary composer Sun-Mi Hong solidifying Hong’s position as one of the most inventive and creative drummers and musicians of her generation. Meaning of a Nest, embodies the album’s exploration of home and community, reflecting Hong’s decade-long journey from South Korea to Amsterdam and her efforts to build new networks and establish roots in a vibrant new environment.

Musically, Fourth Page: Meaning of a Nest offers an inventive and spacious soundscape, seamlessly blending meticulously crafted compositions with elements of improvisation. This fusion ensures each track resonates with authenticity and emotional depth. Hong’s unique approach grants her band members creative freedom within her structured frameworks, resulting in adynamic and genuine listening experience. Fourth Page: Meaning of a Nest stands as a testament to Sun-Mi Hong’s artistic evolution and unwavering commitment to artistic integrity, positioning her as a formidable presence in the European music scene and beyond.

"Invisible Threads" is a sonic assault that penetrates the darkest depths of existence. This album explores themes of human degradation, unspoken fears, and wars that ravage not only bodies but also minds. A fierce manifestation of death metal, "Invisible Threads" overwhelms the listener with a crescendo of sonic brutality and raw emotions_an unrelenting frontal impact from the first to the last track, destined to leave a lasting mark.

"Invisible Threads" is a sonic assault that penetrates the darkest depths of existence. This album explores themes of human degradation, unspoken fears, and wars that ravage not only bodies but also minds. A fierce manifestation of death metal, "Invisible Threads" overwhelms the listener with a crescendo of sonic brutality and raw emotions_an unrelenting frontal impact from the first to the last track, destined to leave a lasting mark.

Red vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Red/Black splatter vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Hailing from Amsterdam via Barcelona, Will & Ink label head Yaleesa Hall kickstarts Timedance’s 2025 run with a hefty arsenal of sound system artillery, expertly sprinkled with rude UKG and electro-laden pulses

Infused with the perfect dosage of driving grooves and earth-shattering low frequencies, these four big and bad cuts are sure to shake the bodies and eyeballs of bass-weight maniacs, breakbeat explorers, adventurous DJs and dancers alike.

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

Brand new double LP on orange vinyl limited to 300 copies worldwide from Tyla (The Dogs D’amour) featuring the latest single ‘Cadillac Man’ - 'It’s becoming a bit of a cliche these days to say 'I dreamt this idea, song, story film book etc' But that's exactly what I did with the song 'Cadillac Man' the lyrics and the video idea and the melody as it was just after noon I jumped out of bed and scribbled the lyrics an picked up my trusty black Gibson J200 the guitar I've written nearly every song on since the day I bought it brand new in 1991. It was then I realised id dreamt the chords too!' I was 62 years old when I began writing and recording this album in the Autum of 2023 and I'm lookin' at 64 this July. I sent some of the songs to Simon (Hanson) who slapped on the drums then I sent them to Jamie Turnbull ('In Vino Veritas' / Tyla’s Dogs D'amour producer) knowing he was a great guitarist, but I didn't know just how good! This is the first album I have ever done that you can and even I do, play air guitar too! The songs flowed and i seemed to have captured most if not every human emotion in a Genie's lamp which I am now putting in your trusty hands and ears and eyes and soul. I beg you pop the cork, and I can guarantee that some if not all of your wishes will come true.' 'Gilding the Lily' Is the album I've been trying to write wanting to write, all my life.'

Introducing the ultimate Rock and Power Ballads collection - NOW That’s What I Call Rock Anthems – Out 31st May! Get ready to crank up the volume and let the music take you on a journey through 79 epic hits, spread across 4 CDs.and with 45 epic hits on 3-LP’s pressed in stunning Neon Violet Vinyl

“Here is my first-born child, a fuck you to all my exes, and basically me just trying to figure out some shit openly and honestly on record. First of many and if you don't like it, then this wasn't meant for you anyway.” - Lola Young.

This Wasn’t Meant For You Anyway marks a remarkable shift in Lola’s sound as an artist. Recorded in LA and produced by friend and collaborator Solomonophic (Remi Wolf, BROCKHAMPTON, Dominic Fike), This Wasn’t Meant For You Anyway
is a multi-faceted, fearless concept. As irresistible as it is unexpected, Lola’s album is crackling with kinetic energy and lyrically fuelled by rage, passion, narrative flair and comedy derision. A contemporary break-up album, This Wasn’t Meant For You Anyway
encapsulates the sound of what it means to be young and in constant romantic chaos. With exciting plans up Lola’s sleeve, her upcoming record will undoubtedly add to her musical trajectory.

Boz Scaggs classic ‘Lowdown’ makes a long awaited return to 12 Inch, appearing for the first time on green vinyl. Originally released in 1976 as part of the album ‘Silk Degrees’. The track ‘Lowdown’ showcases Scaggs’ smooth vocals and the songs captivating bassline. This comes as a triple threat, backed with JoJo and What Can I Say, three of the most renowned Blue Eyed Soul anthems for the price of one.

Cutting his teeth alongside Steve Miller in the Steve Miller Band, this EP captures Boz Scaggs at the peak of his powers. This new pressing serves as a perfect introduction to new listeners as well as replacing worn out copies for longtime fans. Copies on the second hand market are scarce, if you’re lucky enough to find one it will set you back in the region of £80, so not one to be missed.

Low Order returns with his sixth EP in five years, building on his reputation for relentless industrial body musick. Opening with immersive noise textures, the record takes shape with the stern syncopated bass drum pressure of “See The Land”, echoing Portion Reform’s classic The Supreme Negative. Disciplined cuts such as “Angel Cycle”, “Stand Still” or the remorseless title track further demonstrate the unstoppable forward momentum with which he’s been tearing up clubs across Europe. The final “Eyes On You” cloaks the listener with dream-pale atmospheres of drones, feedback and mutated vocals that almost feels like the embodiment of a gritty realization, of a burdened history that inescapably lingers within. It rounds off an EP that is clearly rooted in the rich history of extreme styles but never takes its eyes off the dancefloor. Recommended for everyone who’s into all the hard, uncompromising stuff!

Brian Auger’s Streetnoise, recorded in 1969 with Julie Driscoll and The Trinity, stands as a landmark of late 1960s eclecticism, where the boundaries of jazz, rock, folk, and soul blur into a cohesive, genre-defying masterpiece.

Auger was moving The Trinity on from their R&B, jazz beginnings and for Streetnoise, together with Driscoll, delivered a record that channelled their mutually progressive vision. Julie's haunting vocal performances were the perfect counterpoint to Auger’s innovative instrumentation, creating a sound that was both avant-garde yet deeply soulful. “We aimed to challenge expectations, ” Auger recalls. “Every track was a canvas to experiment and push the envelope.”

The album’s gatefold sleeve design, created by Ralph Steadman, inspired by William Hogarth's 18th-century satirical etchings, was as groundbreaking as its music. This was not just a cover, it was a bold statement about art and society, perfectly mirroring the music’s blend of historical reverence and forward-thinking innovation.

Musically, Streetnoise is a kaleidoscope of styles including jazz and R&B, fusion, folk, rock and gospel flourishes. "Ellis Island, " and “Finally Found You Out” are both intense instrumentals that embody the intense fusion of jazz and rock the group was known for. "Indian Rope Man" is one of the standout tracks. A cover of Richie Havens' original, that inspired The Charlatans ‘Indian Rope’ and All Blues, a bold reinterpretation of Miles Davis’ iconic Kind of Blue masterpiece, on which Driscoll's vocal performance may be the highlight. "Flesh Failures (Let the Sunshine In)" is a hauntingly beautiful cover of the finale from the musical Hair. Auger's own compositions from the opening instrumental 'Tropic Of Capricorn', to the introspective solo piano and vocal Looking In The Eye Of The World' display Brian's multiple talents.

Celebrated for its fearless creativity across all 16 tracks, the album is testament to Brian Auger and Julie Driscoll’s visionary artistry. It remains a must-listen for anyone exploring the dynamic intersections of jazz, rock, and soul. The album’s reputation has only grown with time, cementing its legacy as a cornerstone of experimental music.

Streetnoise; A wholly unique album from an equally unique group

Das dritte Album von Pale Blue Eyes ist eine Beschwörung neuer Horizonte, das cremige Devon wird gegen das Synth-Zentrum Sheffield getauscht. "New Place" erscheint nach einer wundervollen Tour mit Slowdive durch 12 europäische Länder und vielen Veränderungen im Leben von Sänger/Gitarrist Matt Board und Schlagzeugerin/Synth-Queen Lucy Board, die den Kern der Band bilden. Es gibt neue Sounds, aber auch einen markanten Krautrock-Einfluss, neben weiteren Lieblingsstimmungen und -aromen der Band, auf die auch zwei Mitglieder der PBE-Livebegleitung, Tom Sharkett (auch Gitarrist bei W.H. Lung) und Lewis Johnson-Kellett, einwirkten. "New Place" spiegelt das Ende einer Ära und einen willkommenen Neuanfang an einem neuen Ort wider.

Das dritte Album von Pale Blue Eyes ist eine Beschwörung neuer Horizonte, das cremige Devon wird gegen das Synth-Zentrum Sheffield getauscht. "New Place" erscheint nach einer wundervollen Tour mit Slowdive durch 12 europäische Länder und vielen Veränderungen im Leben von Sänger/Gitarrist Matt Board und Schlagzeugerin/Synth-Queen Lucy Board, die den Kern der Band bilden. Es gibt neue Sounds, aber auch einen markanten Krautrock-Einfluss, neben weiteren Lieblingsstimmungen und -aromen der Band, auf die auch zwei Mitglieder der PBE-Livebegleitung, Tom Sharkett (auch Gitarrist bei W.H. Lung) und Lewis Johnson-Kellett, einwirkten. "New Place" spiegelt das Ende einer Ära und einen willkommenen Neuanfang an einem neuen Ort wider.

Repress!

VERY LTD 100 COPIES UK

‘Indian Wedding Sweetmeat Celebrations’ transparent Yellow vinyl.** Ten years on from its original release, Ample Play Records will release, the ground breaking ‘Cornershop And The Double ‘O’ Groove Of’ album by Cornershop feat. Bubbley Kaur on vinyl for the first time. The LP, pressed as a stunning limited edition of 500 copies on ‘Indian Wedding Sweetmeat Celebrations’ sticky transparent Yellow vinyl in a gatefold sleeve with poster insert, will be available via mail order direct from the group and in all good independent record shops from 3rd December 2021. Cut for vinyl at optimum levels by Fluid Mastering, the same clever folk who mastered both the celebrated ‘England Is A Garden’ and ‘England Is A Garden Instrumentals’ albums. It’s a vinyl release that Rough Trade Shops have petitioned us for years to action and we’re pleased to report they consider the audio results to be “topknotch, an amazingly defined cut”. After many a time in the studio, under lab conditions Cornershop originally released the album in 2011 featuring the incredible double sugar-coated vocals of Bubbley Kaur. When Tjinder and Bubbley decided to work with each other, she had not recorded a note of music. They had met very fleetingly, years ago at a cellar gathering in Preston Lancashire, where Tjinder & Benedict studied. So it was much surprise when a taxi driver friend introduced him to a lady that liked singing, worked in a local launderette, and was the same lady he had met in a northern cellar bar. They then met a good many times at Tjinder’s house where they would listen to and discuss traditional Punjabi Folk Music, and slowly Bubbley came out writing her own original lyrics, which were set to a varied range of modern musics. ‘Natch’ was the first song she recorded, followed by ‘Topknot,’ and together they became the first double ‘A’ single on Rough Trade Records. The complete recordings were made in their own good time. Tjinder explains “There was no need to quickly put the album out, but there was a need to make it top rank and evergreen, especially as I have wanted to do an album like this for 20 years.” Benedict & Tjinder set up their own label, Ample Play in 2009 to release the highly acclaimed album ‘Judy Sucks A Lemon For Breakfast.’ The way Tjinder & Bubbley met was like a hindi movie script, and the outcome of the music is like an Asian version of The Kids From Fame – totally upbeat, giving rise to new ways of expressing yourself.

Actual Earth Music - Volume 1 & 2’ presents two caustic, yet alluringly unreal live sets from Canadian noise-rock entropy hunters Earth Ball. Following on from the group’s critically appraised ‘It’s Yours’ LP (released 2024 on Upset The Rhythm - UTR164) this release captures the band at the peak of their powers, playing live, composing spontaneously.
Side A features Earth Ball live at The Fox Cabaret in Vancouver, supporting Wolf Eyes on August 4, 2023. Jeremy Van Wyck from the band considers this “the gig that sent us into orbit, really. Causing Olson & Young to wax poetic about our interstellar jams to a fine bloke across the big sea. Upsetting our casual rhythm and forcing our hand. All that talk led to an LP, ‘It’s Yours’, and a full UK tour the following spring”.
Now, with the birth of this live series ‘Actual Earth Music’, it seems only fitting that Volume 1 should be this gig. It’s a doozy. Listening back is a pure revelation. Earth Ball whip up a vortex of thrashing wild energy, the ecstatic release is off the charts. “You don’t always catch every nuance of the jams as they come down. I mean, this one felt good, but upon listening back to the tapes, it sounded very good” confides Jeremy. “It reminded me of Von Trier’s Melancholia: the sound of a large sphere coming toward you to bring doom. However, this one reverses course, heading away to some other shore, bathing you in reflective bliss before saying goodbye—instead of ending humanity as we know it”.
Volume 2 occupies Side B of this LP, showcasing a collaborative summit from the second night of their recent Café OTO residency on May 21, 2024. This event featured Earth Ball laying down three separate sets—all collaborations. This second recording presents their opening performance and features pivotal UK improv luminary Steve Beresford on piano and free-jazz phenomenon Chris Corsano on drums.
Running Time: 42 mins

Preparing your debut full length record is no small undertaking for any artist. The format itself deserves a certain frame of mind and approach – it’s different, and with Sarah Wild’s debut LP she embraces the idea. Expanding her artistic vision to offer something different, making use of the format and bringing new ideas and musical pathways to her established sound. Releasing on her imprint Midnight Operators in early 2025 – My Body Flows In Gravity constitutes a sophisticated homage to the early 2000s trance movement, integrating nostalgic motifs with her ultra-on point production that sits perfect in todays scene.

From the dreamy proto-house vibes of the opener, establishing a foundation with its understated beats, to the Orbital-esk serenity of the title track My Body Flows In Gravity the album works at evoking the emotive resonance of a golden era of music reborn. This trip is backed up by the Early-Balearic styled tracks such as “Fly With Me To The Moon” and “Visit To Mars” which pull you into hazy smoked filled dancefloor territory, hypnotic melodic progressions effectively capture the essence of Trance’s peak cultural moment.

At the mid point “I Don’t Wanna Go” introduces a different dimension, exploring a more Euro sound that is at the peak of the contemporary scene, but infused with Sarah’s unique edge, hyper pumping beats work alongside spoken word to really up the tempo. Following this the journey returns to a more progressive feel, “Floating Around” and ” On My Way Home” take things into deeper territory, bringing the focus’s of the record back the groove after the blurry eyed highs. Bringing the record in for a perfect landing. There is an emotional duality to this record, a movement through a juxtaposition of yearning and almost frantic emotions alongside more uplifting harmonics through to more introspective moments. The final track “Landing” gracefully closes this arc.

Sarah Wild delivers a sonic journey as much concerned with the process as with the destination itself. My Body Flows In Gravity shows Wild’s capacity to synthesize the deeply personal with the universally resonant, a set of tracks that equally speak to the introspective solitude as they do to the collective euphoria of the dancefloor.

When the late Jazz impresario and trailblazer Meghan Stabile first launched the Revivalist platform and Revive Da Live concert series in NYC, the goal was to bridge the gap between younger Hip-Hop audiences and traditional Jazz purists. Born from this vision in 2010 was the Revive Big Band, an inventive 20+ piece ensemble led by artistic director, trumpeter, and composer Igmar Thomas. Merging tradition with groundbreaking creativity since its inception, the multi-generational band’s world-class cadre of musicians unites for Like A Tree It Grows. As the Revive Big Band’s official full-length debut, this album represents not only a 14-year timeline of the Revive collective’s journey, but also a deeper tribute to the Black American Music lineage. It’s a celebration of community that uses the timeless power of music to tell a story of cultural legacy, innovation, and artistic collaboration. From original compositions like “R&P” and “The Coming”, to reinterpretations of classic records paying homage to musical legends (e.g. Wayne Shorter, Dizzy Gillespie, etc.) Like A Tree It Grows showcases Thomas’ intricate arrangements that blend Jazz, Hip-Hop, Soul, and a range of genres from the lineage of Black American music. With guest features from Talib Kweli, Dr. Lonnie Smith, Terrace Martin, Jean Baylor, Bilal, and more, the album provides a bridge between past and future, inviting listeners to explore the roots of Black music while reimagining its possibilities.

Tobacco City is a Chicago-based band that blends cosmic country with a mix of psychedelic rock and honky-tonk soul. Their sound captures the essence of small-town nostalgia while embracing modern-day themes, exploring heartache, longing, and the bittersweet nature of life. With their uplifting energy and authentic songwriting, Tobacco City continues to carve out a unique space in the countrytinged Americana scene. On Horses, the highly anticipated follow-up to their critically acclaimed debut, Tobacco City, USA, the band takes listeners on a nostalgic journey through the haze of youth, where time feels suspended and plans are nonexistent. The album’s lyrics conjure vivid images of small-town life—smoking schwag behind the grocery store, drinking cream from a gas station with your first love—capturing that carefree, uncertain time when the future felt distant. The music channels the spirit of ’70s country with influences from legends like Gram Parsons and Emmylou Harris, bringing a timeless, uplifting energy to each track. At the same time, the lyrics intersect with modern-day themes, blending the beauty and innocence of youth with the harsh realities of life. Horses feels like a contemporary take on classic country, merging a nostalgic past with the complex world of today, all while remaining undeniably authentic and heartfelt. This follow-up to Tobacco City, USA—which received high praise from NPR and Rolling Stone— cements the band’s place at the forefront of a new wave of countrytinged Americana. “...Like the Chicago band’s namesake, a slow smoke hangs in the air, heavy with heartbreak and feather-blue eyeshadow, but puts a brave face on. Lexi Goddard sings with a far-away look over a pedal-steel cry, a melody that sways to country songs on jukeboxes of yore...” —NPR “Chicago’s Tobacco City do more with less... spacious grooves as pedal steel wafts through like a gentle breeze. Vocalist Lexi Goddard and Chris Coleslaw sounds simultaneously wistful and playful throughout...” —Rolling Stone

Cindy Lee, Arthur Russell, Viagra Boys, On-U Sound. In the discourse around new albums from singular, world-building artists, the phrase “a big step forward” can often be a blinking red warning sign. You know you’re about to be pulled somewhere new against your will. Inertia is a hell of a thing. It’s nice here. Surely, the party’s not over yet? JJULIUS’ Vol. 3 album is a big step forward, or a step up, out of the murky basement of the preceding two volumes. There’s no time to acclimate. A spindly violin grabs you by the hand and pulls you into the pastoral bounce of “Brinna ut,” which, in spite of its meaning (“Burn out”), creates the kind of blind positivity and warm stomach feeling less cynical people might find in self-help seminars. For us, we have records like this. And, inertia be damned, Vol. 3 has charm like a balm. JJULIUS records have always arrived like meteors from another planet, an impression hammered home by the fact that they’re titled like compendiums of artifacts. And while Vols. 1 and 2 carried that notable tinge of darkness, Vol. 3 has (almost!) cast that shadow, adding elements of disco (“Dödsdisco”) and dream-pop (“Etopisk hallucination”) to his forever favorites Arthur Russell, African Head Charge, and The Fall. Some of that new car smell could be attributed to a change in process. Each song was written over beats played by Tor Sjödén of the wild-eyed Stockholm group Viagra Boys, beats that were themselves inspired by tracks from the likes of Patrick Cowley, CAN, Count Ossie, Black Devil Disco Club and others that Julius would send to him as inspiration. Unless you’re Mark E. Smith, fervor fades. Eventually we all crave a lie down in some nice grass, a few minutes to gaze at the sky and wonder if everything is actually all that bad. Vol. 3 gives you 35 of those respiting minutes. “No looking back, no misery, no talking trash, no enemies.”

Wir feiern den 20. Jahrestag von Alter Bridges mit Gold ausgezeichnetem Debüt „ One Day Remains “
mit einer Deluxe-2-LP-Edition. Das Album erschien ursprünglich 2004 und enthält Fanfavoriten wie „Metalingus“, „Open Your Eyes“ und „In Loving Memory“. Diese erweiterte Ausgabe bietet sechs Bonustitel,
darunter die Rarität „Save Me“, und ein Live-Set mit fünf Songs aus dem Jahr 2005 aus den Phase One
Studios in Toronto, das bisher unveröffentlichte Darbietungen enthält

Limited amount of part 42 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH011. Generic black sleeve.

Split Evolution from Chicago and released two singles. The first "Jumpstreet" (vocal/instrumental) on Wasp in 1978 (although copyright on the label states 1974 whilst publishing states 1978) followed by "If Only You Would Say (I Love You)" (vocal/instrumental) on Jumpstreet in 1984 as The Three Phases Of Evolution. Both pretty hard records to find and not even listed on 45Cat but appear to have been reissued by Magnetic Recordings in 2014 (both included below). Interestingly, on the label for the latter it states that it is from the LP "Jumsptreet" so perhaps an album was in the pipeline? They recorded a third single which only made it to a test pressing stage, as the full run was cancelled later on. This unreleased third single "Bedroom Eyes" / "Let Me Do It" is the one out in March on Canonnball Records. The only surviving copy was found by rare soul DJ Dave Thorley on a record hunting trip to the States in the early noughties.

Our 8th Anniversary release is totally, completely, wholeheartedly dedicated to LOVE. Written not to be a ballad neither to be a dancer “Bedroom Eyes” inevitably ended up being both, turning out in what I consider the definitive love song, up there with Sly, Slick and Wicked's Sho' Nuff. It just melts my heart. Warm basslines laying on a catchy drumming which anyone would likely mistake for an Enchantment groove. A man and a woman dueting like if they were actually laying in bed after a consuming day out, and finding relief in each other’s presence. The man, desperate for love, makes questions to which the woman answers in the choruses with a hidden prayer to stay together forever. All with mutual background voices and brass crescendos and strings pizzicatos counterpointing each others to make it a beautiful yet rough arrangement. Just pure Soul love heaven.