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It would be insufficient to call Rory McPike “prolific”; it does a disservice to the depth and breadth of his oeuvre as Rings Around Saturn, Cactus Head, Bleekman, 2200, Dan White, and as one half of Turner St. Sound. His work can be broken into a litany of different genres, but at the heart of it all lies an endlessly explorative spirit with a restless desire for expression. This impulse spans his diverse body of work and all the different facets of his musical practice.

‘All Things Shining’ touches on ambient, electroacoustic studies and filmic/VGM composition, but outside of these references, it stands as a beautiful suite of songs and a testament to the power of the creative impulse. Best Effort is proud to present the realization of Rory's vision.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

Bobby Caldwell's second album, Cat In The Hat, from 1980, is one of his greatest moments and another masterwork of soulful sophistication. Featuring the eternal "Open Your Eyes", brilliantly sampled by J Dilla for Common's "The Light", it's about as essential as records get. Like its eponymous predecessor, it's been out of print for far too long. To finally release the hugely-anticipated reissue is one of our sincerely proudest moments.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

Right from the off, it's easy to tell that Cat In The Hat is a deeply special record. It's fantastically produced and incredibly well-rounded, carving its own lane with deep soul, warm jazz and a stunning vocal delivery that really helped Bobby reach out to some big new audiences at the time. Goosebumps at the ready for the rolling power-piano funk of "Coming Down From Love", opening up the album with a track as good as anything Steely Dan or The Doobies ever crafted, with a vocal performance from the heavens. Pumping AOR wonder "Wrong Or Right" is up there with the slick, classy rhythms of prime Ned Doheny whilst the cool, skipping soul of guitar-drenched "To Know What You've Got" is a funky ballad par excellence, with elemental traces of "What A Fool Believes". No bad thing. Closing out Side A, the folk-funk of "You Promised Me" is a bright, soulful strut with a wonderful vocal coda that just builds. Sensational.

The delicate bounce and falsetto self-harmonising of "It's Over" offers a truly delightful introduction to Side B, and serves as a great precursor to what follows. Bobby's dynamite "Open Your Eyes" is likely the reason you're all here. As if he needed it, the eternal J Dilla further immortalised Caldwell in the hip-hop canon with his production of Common’s epochal “The Light,” which heavily samples the magical “Open Your Eyes.” On a post paying tribute to Bobby in March 2023, Questlove claimed that he "got word Brother Bobby loved it". Bobby's original has seen new life even more recently from the likes of Dwele and Kendrick Lamar and deservingly so, as its insistent drums and staccato piano created a modern-soul classic. You'd think that would be hard to follow, wouldn't you? Not so, when you're Bobby Caldwell. Indeed, the horn-drenched stepper "Mother Of Creation" is absolutely ace, and, whisper it, possibly the album's finest track, all funky piano and guitars with horn lines to die for. Exquisite ballad "I Don't Want To Lose Your Love" rounds out the album beautifully.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of Cat In The Hat will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

These sonic stories emerged from a gathering of artists concerned with alternative uses of everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the Earth's orbit. It was a performative celebration of entangled audio-visual events that enabled us to learn once again how to tune in to a place: with our eyes, with our ears, with our minds. While listening to the record, I remember what it sounded like in the space. I remember monologues of chairs that were given voice, phones eavesdropping and speaking back to us, cassettes falling on the floor (intentionally): some visions unfolding in front of our very eyes and others in our minds. Try to imagine all that these short pieces might still contain. As Peter Fengler exclaims in his chorus: it will all work out. Just choose a bicycle, low on emissions and also better for the tummy and the legs! (Lucija Gregov)

The kind of band whose members are fully immersed in their local scene-through a handful of notable side projects and the show- promoting Philly staple 4333 Collective- the quintet's sound takes wide- spectrum influence from its environment. The result is an amalgam of complex song structures and flourishes of technical acumen, wholly unconcerned with genre, yet evoking the specific styles of touchstones such as Paramore and Circa Survive.

On their debut longplayer Where the Heart Is, Sweet Pill's unbound, raucous energy presents through ten autobiographical tracks that hinge on singer Zayna Youssef's elastic, enrapturing voice- at times belting and controlled, at others textural and guttural. Supporting Youssef are guitarists Jayce Williams and Sean McCall, bassist Ryan Cullen, and drummer Chris Kearney. Their blistering lead single "Blood" sees Youssef exploring a deteriorated friendship over Williams and McCall's trudging riffs and tactful counterpoint, with Cullen and Kearney rumbling nimbly in the song's foundations.

Second single "High Hopes" counters with introspective, melodic punk that reshapes anxiety rather than succumb to it. But third single "Diamond Eyes" momentarily slows the pace, with McCall joining Youssef on vocals for a breakup lament laden with acoustic sentimentalism and an emotive flurry from guest flutist Jill Ryan. Such range is the central facet of Where the Heart Is, where Sweet Pill's penchant for combining punkish tropes enlivened with the vibrance of math- rock and the aggression of post- hardcore sweetened with pop sensibility compound into something stylistically new yet still familiar.

Seit mehr als 35 Jahren sind BONFIRE der Inbegriff von "Hard'n'Heavy made in Germany". Jetzt veröffentlichen sie ihre beliebtesten Alben "POINT BLANK", "FIREWORKS" und "DON'T TOUCH THE LIGHT" als MMXXIII Re-Recording-Versionen mit einem komplett neuen Artwork! Erstmals digital bei allen Streaming-Anbietern, als farbig limitierte und nicht limitierte Vinyl und als CD-Digipack verfügbar. In ihrer Karriere sammelten Bonfire mehrere Millionen Streams und Plays und erreichten mit einer ihrer letzten Veröffentlichungen "Fistful Of Fire" Platz 35 in den deutschen Albumcharts und stiegen auch in der Schweiz auf Platz 43 ein.

Seit mehr als 35 Jahren sind BONFIRE der Inbegriff von "Hard'n'Heavy made in Germany". Jetzt veröffentlichen sie ihre beliebtesten Alben "POINT BLANK", "FIREWORKS" und "DON'T TOUCH THE LIGHT" als MMXXIII Re-Recording-Versionen mit einem komplett neuen Artwork! Erstmals digital bei allen Streaming-Anbietern, als farbig limitierte und nicht limitierte Vinyl und als CD-Digipack verfügbar. In ihrer Karriere sammelten Bonfire mehrere Millionen Streams und Plays und erreichten mit einer ihrer letzten Veröffentlichungen "Fistful Of Fire" Platz 35 in den deutschen Albumcharts und stiegen auch in der Schweiz auf Platz 43 ein.

Die südkalifornischen Bluesrocker Robert Jon & The Wreck melden sich mit einem brandneuen Studioalbum zurück. Sie engagierten dazu die Produzentenlegenden Don Was, Dave Cobb und Kevin Shirley, zudem wurden zwei Tracks von Joe Bonamassa und Josh Smith produziert. Auf 'Ride Into The Light' kommt ihr knallharter, purer Rock'n'Roll in Hülle und Fülle zum Einsatz.

A/B-Side effect green/yellow/purple vinyl. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again."

The undisputed king of Japanese noise MERZBOW returns, as the landmark album Venereology celebrates 25 tinnitus-inducing years with its inaugural vinyl pressing! Remastered by James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL, and more) and featuring reworked art, this is the most extreme recording of harsh electronic sickness you will ever own! Venereology features a second LP with more than 20 minutes of unreleased bonus material. - Highly influential noise album from a scene torchbearer/pioneer - Remastered by James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL, and more) - Reworked cover art - 25th Anniversary - Bonus material with unreleased music For Fans of: Prurient, Whitehouse, Wolf Eyes, Masonna, Sunn 0))), Full Of Hell Select Press Quotes: - "A masterpiece..." - The Quietus - " severe and atrophic, but also entertaining, heterogeneous, energizing, malleable. " - Pitchfork

New music from the Jellyfish co-founder Four new tracks on LP, plus four from 2020’s independently released Glamping CD & Digital contain eight bonus tracks, five previously unissued Roger Joseph Manning Jr burst onto the music world’s radar as cofounder of Jellyfish in 1990. After two critically acclaimed and now revered releases, the band parted ways, and Roger began a career that saw him in bands including Imperial Drag, The Moog Cookbook, and TV Eyes, as well as contributing to albums from Beck, Morrissey, Lana Del Rey, Blink 182, Johnny Cash, Adele, and more! He also continued to record as a solo artist, releasing the EP Glamping independently in 2020. That was soon reissued with three live bonus tracks, but neither received a wide release. That brings us to 2023, and Roger is ready to unveil 4 new songs – two co-written with Glamping Chris Price (Emitt Rhodes). Radio Daze / Glamping contains Roger’s four new studio tracks, plus the four from Glamping on LP. The CD and Digital add the three live bonus tracks from Glamping limited edition expanded edition, but three new live tracks and two instrumentals. Radio Daze / Glamping revitalizes the musical landscape of Roger Joseph Manning Jr., making his music available worldwide, on multiple formats, and essential.









[i] 9. What You Don’t Know About The Girl (Live) [Bonus Track]
[j] 10. Operator (Live) [Bonus Track]
[k] 11. Creeple People (Live) [Bonus Track]
[l] 12. Down In Front (Live) [Bonus Track]
[m] 13. Too Late For Us Now (Live) [Bonus Track]
[n] 14. I’m Not Your Cowboy (Live) [Bonus Track]

With a heavy-hoofed gallop, the gargantuan High on Fire bash out towering dimensions of sound on the highly-anticipated Surrounded by Thieves. Burning down the pillars of time with quadrupled intensity, High on Fire inject tonal infectiousness as the mammoth, plaster-cracking guitar and throaty war cries of founding member Matt Pike (Sleep) interlock with elephantine bass grooves and cannon-like percussion, creating the last word in paralysis by sheer volume.

Lost in time yet always in season, here’s a blast of that old perennial, the punk rock, representative of the swiftly changing times around Bailey’s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in 1982-1983, then broke up, leaving these songs to be released… maybe never? Or more preferably, now, to race into the bloodstream of jaded, faded today with all the vigour and rigour of Skam’s eternal youth.

Though they didn’t release any records during their three years of existence, it’d be wrong to call Skam ‘never-was’ - in addition to these recordings, there’s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O’Connell High, class of ‘83 or so.

The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents’ basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers.

It wasn’t until they’d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.

The Skam recordings from 1982 have an undeniably Clash-like countenance that sets them definitively apart from the ‘First Four’ of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the 1990s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions.

But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. However, the rediscovered Skam tapes make for an incredible addendum to the more well-known music of that incredible time and place

“It was a rainy day at the recycling centre in Leitrim. There, amongst the tangle of discarded kettles and broken-down toasters, I first laid eyes on her…” A few years after her stand-out contribution to our ‘Wacker That’ compilation and following a bunch of purple patch releases for Nyahh Records, TakuRoko, Fort Evil Fruit and Eiderdown Records, Natalia Beylis graces Touch Sensitive with a true landmark album for the label – ‘Mermaids. Recorded both at home in Leitrim and at neighbour Mat Warren’s studio (Studio Moo Moo – a converted cow shed), ‘Mermaids’ was inspired by two salvaged items: a CRB Elettronica Ancona - Model: Diamond 708 E electric keyboard from the local tip and a photo taken by her father found in a pile of old family scraps. Smuggled home in the back of the van and ridded of the nine purple crayons lodged inside, the keyboard sounded perfect to Natalia; “The sounds that come from her when I play always move me like water; swimming in rivers and floating in the murk beneath the surface.” The striking image which would become the cover art features Natalia’s mother and two friends during a dip in the ocean. We see three women hanging out on a large rock – their bad-ass hairdos and poses perfectly framed and saturated in sepia. “There are complete siren vibes coming from the rock. Three women, three girls, three witches, three mermaids. I wish I was one of them. Or friends with them.’ After testing compositions and recordings for months on the rescued keys, the discovery of her father’s image formed the final work: “A confluence of the sounds and the image charged through me, and the album began to flicker into being.” Much like the push and pull of the River Shannon, Natalia’s own local swimming spot, ‘Mermaids’ flow is both organic but unstoppable. Anchored around the album’s hypnotic 17-minute title track, we are fully immersed within this subaquatic suite from the first splash. Alongside the keyboard’s glistening tone, field recordings from Natalia’s expansive archive bring us back up for air; taking stops to check in with the chittering chickens and ducks of Athlone. In keeping with her back catalogue and extensive body of work, ‘Mermaids’ exists within its own imagined universe. This is truly singular work that continues to underline Natalia as one of the finest underground artists of her time. We wholeheartedly encourage you to take a forty-minute sonic dip into a deep, murky, watery world of her own creation.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

The latest Greyscale vinyl release is here and is destined to be a dub techno club staple. Featuring one of the best current dub techno producers in Federsen. This physical release is jam packed with club tracks as the flip side features remixes by the amazing Deadbeat and our own grad_u.

Federsen is elite with making catchy grooves like in the first featured track 'Penumbra'. The hypnotic sounds work terrifically in unison to form one of the most seductive tracks we have heard recently. Subtle movements and engrossing tribal rhythm make this a sure-fire dancefloor groover.

'Viridis' focuses more on the melodic chord side while it balances a wonderful deep dub bassline. Spatial and hypnotic are words that come to mind when we heard this for the first time. This is one of those tracks you sway and close your eyes too. Pure dream state stuff.

Deadbeat's dancehall dub Penumbra is magic. This has classic stamped all over it. The Dancehall description might put some classic dub techno fans off. Just come listen and experience this unique song. You just can't deny this! Sick.

Knowing that he is sharing a side with legendary Deadbeat, grad_u puts some extra muscle into his remix of 'Viridis'. Flighty and techy, we just love this futuristic fast-moving sound and we can't get enough of it. An awesome way to end the record.

Also, for an extra treat, there will be a 2 special remixes by Basicnoise of each main track added as bonuses to those who purchase the vinyl.

Greyscale vinyl #11 is sure to be one of the hottest techno records out this year!

Der mit einem GRAMMY Award und mehrfach mit Platin ausgezeichnete Singer-Songwriter, Schauspieler und New-York-Times-Bestsellerautor Corey Taylor (Slipknot, Stone Sour) verrät Details zu seinem neuen Solo-Studioalbum CMF2. CMF2 ist der Nachfolger von Taylors Solodebüt CMFT aus dem Jahr 2020, das die
Nummer-1-Billboard-Mainstream-Rocksingle "Black Eyes Blue" und die Streaming-Sensation "CMFT Must Be Stopped" (feat.Tech N9ne und Kid Bookie) enthielt.
Das Album erreichte Platz sechs der US-amerikanische Billboard Top Rock Album Charts und #9 der deutschen Albumcharts.

"Mein erstes Soloalbum spiegelte wider, wo ich herkam. Dieses Album zeigt eher, wo wir hinwollen", fügt Taylor hinzu.
CMF2 - auf dem Taylor singt und Lead- und Rhythmusgitarre, Klavier und Mandoline spielt - bündelt die Energie, Experimentierfreudigkeit und Direktheit, die eine Karriere ausmachen, in der Taylor mit seiner mit einem Grammy ausgezeichneten Band Slipknot mehr als zwölf Millionen Alben und mit den Chartstürmern Stone Sour weitere Millionen verkauft hat.

CMF2 ist Taylors erstes Album für BMG und das erste auf seinem eigenen Label, Decibel Cooper Recordings.

Jay Ruston (Anthrax, Steel Panther, Amon Amarth), der sowohl Stone Sours 2017er Album Hydrograd als auch CMFT produziert hat, kehrte für Taylors zweites Album zurück.

Dizzy Up the Girl ist das sechste Studioalbum der Goo Goo Dolls. Ursprünglich am 22. September 1998 veröffentlicht, feiert das Album nun sein 25-jähriges Jubiläum. Dizzy Up the Girl ist das meistverkaufte Album der Band mit über 5 Millionen Verkäufen in den USA und enthält fünf Hitsingles: "Iris", "Dizzy", "Slide", "Broadway",
und "Black Balloon". Die limitierte 25-Jahre-Jubiläumsausgabe ist auf silberfarbenem Metallic-Vinyl gepresst.

Recorded in 1989 on the remaining ten minutes left at the end of Swiz’s Hell Yes I Cheated reel-to-reel and originally released at the time as a 33 RPM 7-inch, this 2023 release presents a 12-inch 45RPM version remastered by Tim Green with an extra song recovered from the tape archives of Jason Farrell. The brief story of Fury: At some point in 1989, members of Washington DC punk bands Swiz and Ignition formed Fury as a loose experiment with no intentions beyond being a diversion. The band existed for a few months, wrote six songs, and played two shows. Shawn Brown and Chris Thomson switched their musical roles from their regular bands as vocalist and bass player. The eyes-closed leap into those unfamiliar positions imbued the recording its feeling of deranged chaos, while the well-seasoned duo of Jason Farrell and Alex Daniels nailed down each song with the signature agility and power displayed in their more familiar work together. The recording is a vexing listen that sounds like a Neapolitan swirl of Swiz, Void, and the Germs. Was it precision theatre? Or was it a natural step back into a more primitive and comfortable place for four young veterans that just wanted to fill the daily void of existential restlessness? The track “Resurrection” famously made it onto the final Swiz LP. The final track “Last One” got cut off halfway through recording and the band looped and spliced it into a dizzying psychedelic nightmare / masterpiece. The recording has faded into somewhat of an obsurity, a footnote to the larger careers of all of its members. In its time, it was revered by a small cult of obsessives from numerous early ’90s underground punk circles. It notably had a pronounced influence on the emerging Gravity Records scene, where its echoes can be heard on quite a few of the earlier releases. Resurrection is finally getting the deluxe treatment that it deserves after 34 years!

Der mit einem GRAMMY Award und mehrfach mit Platin ausgezeichnete Singer-Songwriter, Schauspieler und New-York-Times-Bestsellerautor Corey Taylor (Slipknot, Stone Sour) verrät Details zu seinem neuen Solo-Studioalbum CMF2. CMF2 ist der Nachfolger von Taylors Solodebüt CMFT aus dem Jahr 2020, das die
Nummer-1-Billboard-Mainstream-Rocksingle "Black Eyes Blue" und die Streaming-Sensation "CMFT Must Be Stopped" (feat.Tech N9ne und Kid Bookie) enthielt.
Das Album erreichte Platz sechs der US-amerikanische Billboard Top Rock Album Charts und #9 der deutschen Albumcharts.

"Mein erstes Soloalbum spiegelte wider, wo ich herkam. Dieses Album zeigt eher, wo wir hinwollen", fügt Taylor hinzu.
CMF2 - auf dem Taylor singt und Lead- und Rhythmusgitarre, Klavier und Mandoline spielt - bündelt die Energie, Experimentierfreudigkeit und Direktheit, die eine Karriere ausmachen, in der Taylor mit seiner mit einem Grammy ausgezeichneten Band Slipknot mehr als zwölf Millionen Alben und mit den Chartstürmern Stone Sour weitere Millionen verkauft hat.

CMF2 ist Taylors erstes Album für BMG und das erste auf seinem eigenen Label, Decibel Cooper Recordings.

Jay Ruston (Anthrax, Steel Panther, Amon Amarth), der sowohl Stone Sours 2017er Album Hydrograd als auch CMFT produziert hat, kehrte für Taylors zweites Album zurück.

Thanks to dedicated fan Tom Huissen who took his one channel reel-to-reel tape recorder into various London clubs in 1967, these historical performances were captured for all time. Unheard for almost fifty years, John recently obtained these tapes and began restoring them with the technical assistance of Eric Corne of Forty Below Records. Corne adds, "While the source recording was very rough and the final result is certainly not hi- fidelity, it does succeed in allowing us to hear how spectacular these performances are." It's truly an exciting glimpse into music history

Former Guided By Voices guitarist and co-songwriter Tobin Sprout presents Demos And Outtakes Two, a collection of unreleased demos, live recordings and alternate versions of songs from throughout his career. Including songs from his first solo album Carnival Boy (1997) to his latest Empty Horses (2020), it also contains two remastered songs from hard-to-find compilation albums, “Cryptic Shapes” (1998) and “Small Parade” (1997), as well as piano versions of GBV favorites “14 Cheerleader Coldfront” and “Atom Eyes.”

Rare Montreux festival sessions from 1982.
Live Album by Detroit/Tribe Jazz Icon Reggie Fields.
Featuring an All-Star Line-up.
First ever vinyl reissue.
180g BLACK vinyl limited to 500 copies (w/obi strip) . Non-Returnable.



The Real ShooBeeDoo (AKA Reggie Fields) has always been a consistent name on the Detroit jazz scene … Fields who played with Pharoah Sanders while he was living in Motor City, worked with Sun Ra in the late 1970s and early 80s and who was also a close associate of the Afro-centric TRIBE label and artist collective, leaving his marks on a few essential TRIBE sessions such as Phil Ranelin’s “The Time Is Now!” as well as Ranelin & Wendell Harrison’s masterpiece “A Message From The Tribe”. It was Wendell Harrison who gave Fields the chance to record his landmark solo album (Reminiscing from 1981) to be released on his Wenha imprint. Reggie chose to record under his moniker “The Real ShooBeeDoo” because he built a rock-solid reputation as an internationally acclaimed performer under that name.



In 1982 he embarked on a European tour and performed at various clubs in countries such as Germany, Holland, Belgium, Italy, Switzerland, Luxemburg, France and Norway. This ecstatic touring vibe can later be heard on his fantastic ‘‘Live at Montreux Jazz Festival, 1982” album (simply called ‘Good To Go’).



“Good To Go” which we are proudly presenting you today features 10 tracks consisting of smooth Jazz-rumbas, French avant-garde jazz vocalizations, bass lines that can blow through walls as if they were made from paper, foot stomping rhythmic beats, lyrics that are pure poetry and ecstatic beats that took the crowd on a musical trip that ended in them raving for more. Playing before a large and enthusiastic crowd, Reggie’s spiritual cosmic free-flowing rhythms took the audience by storm…and the stakes were high because the bill was pretty impressive, he shared the stage with some of the biggest names in the genre (the festival bill also included Miles Davis, Dizzy Gillespie and Sonny Rollins).



Also…a quick closer look at the cast of all-star players featured on the album is most likely to be enough to get an impression that this is a very special record. Detroit preferred pianist Earl Van Riper brings his rich musical experience to the table that he perfected during his collaborations with Marcus Belgrave, Eddy ‘Cleanhead’ Vinson, Dinah Washington, Wes Montgomery and countless others. On the tenor saxophone we have Robert Barnes known for his work with Donald Bird…and last but not least we have Tani Tabbal on drums who is famous for his performances and recordings with Roscoe Mitchell and Sun Ra!



All of the above makes this rare album a total must-have that just begs for a prominent place in your record collection.



Tracklist:

Jumping With The Bellboy , Dark Eyes , Qu'est Ceque C’est , Do You Call that Friendship , Oo Shoobee Doo , Crazy She Calls Me , Have You Met Miss Jones , Ye Brac Hareesee , Hit That Jive Jack , Too Late Now

Recorded in May 2004, the classic Yes line up - Jon Anderson, Steve Howe, Chris Squire, Rick Wakeman and Alan White, join forces once again to celebrate their historic 35 years, creating music and memories together. This magical show features songs spanning their career, including the classics “Roundabout”, “Starship Trooper”, “I’ve Seen All Good People”, “Owner Of A Lonely Heart” and many more! For the first time ever, this concert will be made available on vinyl and truly be a wonderful gem in every progressive rock fan’s music collection.

With “Close As You Get”, originally released in 2007, Gary Moore continues the musical journey he started with his highly successful album “Old New Ballads Blues” by mixing reinterpretations of Blues classics such as ‘Have You Heard?’ by John Mayall or ‘Thirty Days’ by Chuck Berry with own compositions.

Being out of print on vinyl for a while, “Close As You Get” is now available again: as a heavyweight double vinyl edition.

Today, Anjimile Chithambo, better known as Anjimile, announces his new album, The King, out September 8th, his first full-length since 2020’s breakthrough Giver Taker. To herald the announcement, he shares lead single, ‘The King’, accompanied by a visualiser by Daniela Yohannes, whose striking painting takes centre stage on the album cover.

Highlighting the artistic shift from Giver Taker to now, ‘The King’ opens with a lofty, melodic choir, an intro that belies the song’s motives. Suddenly, sinister arpeggios interrupt the reverie, and the voices grow darkly serious. Deeply steeped in the confusion, grief, and rage of being Black in America, ‘The King’ pushes back against the tired adage, “what doesn’t kill you makes you stronger,” hissing, “What don ’t kill you almost killed you// What don’t fill you//pains you// drains you.”

“If Giver Taker was an album of prayers, The King is an album of curses.” In his second album, Anjimile continues exploring what it means to be a Black trans person in America. The brutally honest reflection of 2020’s deadly summer is less reminiscent of the pink cloud of early sobriety and more rooted in the reality of seeing brutality with clear eyes. Drawing from influences ranging from religion, Phillip Glass, and lived experiences, the album is a grand step forward for Anjimile. Nearly every sound you hear on The King comes from two instruments: an acoustic guitar and Anjimile’s own voice. Other than a few beautiful contributions from Justine
Bowe, Brad Allen Williams, Sam Gendel, and James Krivchenia (Big Thief), the album is the result of a year in LA working intimately with Grammy and Juno winner Shawn Everett.

Today, Anjimile Chithambo, better known as Anjimile, announces his new album, The King, out September 8th, his first full-length since 2020’s breakthrough Giver Taker. To herald the announcement, he shares lead single, ‘The King’, accompanied by a visualiser by Daniela Yohannes, whose striking painting takes centre stage on the album cover.

Highlighting the artistic shift from Giver Taker to now, ‘The King’ opens with a lofty, melodic choir, an intro that belies the song’s motives. Suddenly, sinister arpeggios interrupt the reverie, and the voices grow darkly serious. Deeply steeped in the confusion, grief, and rage of being Black in America, ‘The King’ pushes back against the tired adage, “what doesn’t kill you makes you stronger,” hissing, “What don ’t kill you almost killed you// What don’t fill you//pains you// drains you.”

“If Giver Taker was an album of prayers, The King is an album of curses.” In his second album, Anjimile continues exploring what it means to be a Black trans person in America. The brutally honest reflection of 2020’s deadly summer is less reminiscent of the pink cloud of early sobriety and more rooted in the reality of seeing brutality with clear eyes. Drawing from influences ranging from religion, Phillip Glass, and lived experiences, the album is a grand step forward for Anjimile. Nearly every sound you hear on The King comes from two instruments: an acoustic guitar and Anjimile’s own voice. Other than a few beautiful contributions from Justine
Bowe, Brad Allen Williams, Sam Gendel, and James Krivchenia (Big Thief), the album is the result of a year in LA working intimately with Grammy and Juno winner Shawn Everett.

Originally released 40 years ago, the album spent 17 weeks in the UK album charts and spawned hit singles "Christian", "African & White" and "No Blue Horizons".

Despite the name, the band does not perform exclusively in trio formation, but expands the lineup with illustrious guests of the jazz genre. In the past AMC Trio has collaborated with Philip Catherine, Bill Evans, Ulf Wakenius, Mark Whitfield, Michael Patches Stewart and many others, including the guest on 'Following the Light' Randy Brecker.

The AMC Trio band has been around for about twenty years and consists of pianist Peter Adamkovic, bassist Martin Marincak and drummer Stanislav Cvanciger. It has its musical foundations in mainstream jazz but over the years has managed to develop its very own musical sound and style. The band incorporates many self-experienced stories and emotions in their compositions.

Although their music is influenced by Slovak music, it goes beyond the usual jazz progressions and touches on a number of diverse genres. For example, the wide range of melodies is inspired by popular and classical music, melodies from Eastern Slovak folk music, nature, literature and spirituality.

Before he was old enough to legally drink, there were "Best Of," rarities compilations, and .zip files floating through the ether.

Whenever industry prospectors earmarked him as the next big thing, he disappeared back underground, only to reemerge sharper, leaner, weirder.

Though only 26, the St. Louis- born rapper and producer has seen enough for several lifetimes--and raps as if he's tapped into many more. But after a few years of highs, lows, and traumatic odysseys, he was able to stare straight into the abyss and conquer it. This regained confidence is exhibited on fish don't climb trees, the largely self-produced new album that reaffirms him as one of rap's great auteurs.

While working on "fish", he vowed to be more true to the emotions and experiences he'd endured. Being true to those fractured, discordant feelings requires a prismatic approach. And so you get fish's exhilarating hairpin turns: from downtempo dub ("bora bora") to 808s rattling through a haunted house ("tourniquet"), beats that sound as if they're molting into new shapes in real time (the two- song suite of "daze" and "grey theory") to ones that that plunge to the
bottom of a pocket ("spirits").

The album's title comes from the maybe-apocryphal Einstein quote, about how a fish judged by its ability to climb trees will "spend its whole life believing it is stupid." For Watson, this meant embracing the cheery first half of the quote ("Everybody is a genius"), but also being cognizant of the dark undercurrents that flow just beneath seemingly innocent misjudgments and mis-categorizations.