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From a club-friendly chrysalid onto deploying his wings as a full fledged pop artist in recent years, Saint Petersburgs Kito Jempere has enjoyed a journey unlike any other and his newest album, Part Time Chaos Part Time Calmness live-documents the chameleonic changes / game-changing paradox experienced this year between his life both as a musician and as a family man.

Better known for his work as a house producer which has earned him accolades from prominent dance music outlets throughout well over a decade of intense work both into and outwith the limelights, Kito has for all that never been focussed on writing solely discoid material, throwing as much effort over the years into multi-faceted parallel ventures, far and apart from strictly dance floor-oriented functionality. Yet, from this partition between various projects and mindsets, this is through a radical shift towards downtempo pop and out of the 4x4 loop that Kito got to fully assert himself as a musician, embracing the rejoicing variety of tone and mood of his tender loves, secret and not. The movie Ive never made but have the soundtrack for, Part Time Chaos Part Time Calmness is the fruit of change as much as change itself. A return to the simple means of his young self, his old trusty guitar from his late teens serving as the backbone to Killer Line and Love Myself But I Cant Make It Love, and the natural development to last years Green Monster, which
initiated these deep tectonic movements in Kitos approach to his art, PTCPTC is an intimate trip down the kaleidoscope of his present life. Joined up by an impressive cast of artists, including Jimi Tenor, Adam Evald and Hard Ton, Kito didnt just bin his old persona, he took it back to where it belongs. From the low-slung emotional folk of the opener, Killer Line, to the eerie flamenco-jazz hybrid Before Music Dies. via the broken soulfulness of Put Love Into Your Heart and anthemic 80s balearic breaks meets coastal synthwave vibe of Sounds of Love, the album pulsates with a refreshingly genre-unbound vision. To the naive, laid-back sonic bokeh of Footsteps,
succeeds the left-of-centre cinematic narrative of In The Countryside, which includes some fun nods to fictional brands taken from Tarantinos imaginarium (Red Apple cigarettes) or other movies like High Fidelity, after Nick Hornbys eponymous novel.

Freed from gridlocked programming and impersonal tropes, PTCPTC showcases a wide array of songs, beats, grooves old and new, some dating back to 2018 and improvised sessions with his 9-people Kito Jempere Band, all of which were finished within the same timeframe and with this all-inclusive momentum in mind. Through the epic synths of Absent Ascent. in revamping the universal classic Over The Rainbow with Celebrine, on the appeasing ballad Shorespotting feat. Evald or in the waves-ready closing cut Lovers, Jempere tells a tale of hard-earned emancipation and life-affirming freedom.

"“adedemola,” the self-titled album from Fireboy DML, is a deeply personal statement, representing the culmination of years of artistic growth and self-discovery. More than just a collection of songs, it serves as a mirror reflecting the artist's journey through love, loss, and self-actualization. The creative process behind the album was anything but straightforward; it involved navigating the complexities of life, facing personal challenges, and enduring the pain of losing close friends. Yet, it was through these difficult experiences that Fireboy DML found clarity and purpose.

Inspired by love in its many forms—self-love, familial love, and romantic relationships—”adedemola” delves into the emotional depths that define human connection. Fireboy DML explores the importance of cherishing what truly matters, moving beyond the superficial pursuits that often distract from the blessings of family, health, and genuine relationships. In a world that feels increasingly divided, “adedemola” is a call to return to the basics: to embrace love, positivity, and the simple joys of life.

The album stands as the truest expression of the artist's identity yet, embodying the vulnerability and authenticity that fans have come to cherish. It's an invitation to sing, dance, and love with abandon, reminding us all of the power of love to heal and unite."

Skeletal Family are: Anneka Latta - Vocals, Stan Greenwood - Guitars, Roger "Trotwood" Nowell - Bass, Ian "Karl Heinz" Taylor - Keyboards / Saxophone, Adrian "Ozzy" Osadzenko - Drums and Percussion. Formed in 1982 with vocalist Anne Marie Hurst, their debut album 'Burning Oil' topped the National UK Indie Charts for three weeks in Autumn 1984 above other contemporary northern bands The Smiths and New Order. The band subsequently recorded seven BBC Radio One sessions for John Peel, Janice Long & Kid Jensen. They Signed to Chrysalis Records in 1986. Their discography includes the studio albums: 'Futile Combat', 'Sakura', 'Songs of Love Hope and Despair', 'Day of All Days'. The current line up came together in 2021, with the introduction of vocalist Anneka Latta with the band performing live at 'Wave Gotik Treffen' in Leipzig and 'Darker Waves Festival' in Huntington Beach, California as well as various dates in the UK and USA. Their latest album 'Light From The Dark' was recorded at Paul Weller's 'Black Barn' Studio and received critical acclaim already earlier this year.

14 Songs To Beat Jet Lag... For Intercontinental Sugar Daddies! You belong to the Jet-set? This Lp is for you! You don"t belong to the Jet-set but you dream to? This Lp willmakes you familiar with the pool parties!

Hot on the heels of Sukuma, Durban's Sugarman Sandy B returns to Red Motorbike with Bink Party!

This time around, he's teamed up with label boss Eddie C on production, as well as an assortment of underground artists from around the globe whom he has collaborated with during his WorldKwaitour, which he combined with the 30th anniversary of his successful underground independent debut, AmaJoviJovi.
Bink, the genre Sandy B coined, is a modern take on Kwaito's loose rhythms and the mid-tempo funk we've come to know and love from the Red Motorbike stables.

Sandy B's Zulu staccato rap and R&B stylings sound as fresh as ever as he continues to connect with his global family through his international travels, currently on tour across Asia and Australia.

Bink Party into 2025!!

RNT drops their fourth installment of the beloved compilation series Family Affair with a diverse offering of vibes, and adds some fresh new faces to their ever expanding roster of artists. On the A side an Afro-electro secret weapon from label co-head JKriv’s DJ set is released into the wild, and German legend Vincenzo delivers a tune that harkens back to the lush deep house of his early 2000s glory era. The 3 songs of the B side bring even more variety, from the stomping hypnotic new disco of Ilija Rudman’s ‘Discoteka Parmida,’ to the head - nodding R&B groove of Yasmin’s ‘Real High’ and the modern live-arranged Afrobeat vibe of Arnau Obiols’ ‘Pagan Mambo.’ With ever gorgeous jacket art that is now the signature style of this series, this record is one for both the listening shelf and the bag!

The Norwegian indie-pop super-group with members from Making Marks, The Little Hands of Asphalt, Mildfire, Flight Mode and Elva return with a third album of original Christmas songs.

Get into that alternative, Nordic Christmas spirit! Christmas III at its heart is an alt-Christmas album: the songs are firmly rooted in December’s festivities, albeit not usually relying on the season’s traditional reference points. The songs hone in on the more ambivalent sides of Christmas - family, customs and the passing of time - with a keen eye towards the holidays’ most obvious function in countries close to the Artic circle: getting through the cold and dark times to celebrate the winter solstice and the turning of the sun. Drawing from Sufjan Stevens’ epic indie Christmas compendium and Phil Spector’s wall of sound classic A Christmas Gift From You, Christmas III is built on shimmering guitars, snow filled piano lines, gentle strings, springy vocals and dynamic drums - all steadily conducted by Sunturns’ own Sjur Lyseid (Flight Mode, The Little Hands of Asphalt) in the producer’s seat at his Globus studio in Oslo. With 3 songwriters (Ola Innset, Einar Stray & Sjur Lyseid) contributing to Christmas III, there’s an ever shifting sense of reflections. Parenthood and the struggles of the dark Norwegian winter is behind Ola’s track First Winter. “Sometimes I feel bad about bringing children into such a difficult world. Not so much with respect to daylight and the seasons, they’re just going to have to learn how to live with it, but with many other things – like war, poverty, climate change and even just death.” Back In Town might have been inspired by a discussion over whether Thin Lizzy’s “The Boys Are Back In Town” is a Christmas song or not, but it’s written about his youngest daughter Klara, to his elder daughter, about taking holidays with your family in a town you once lived. Einar pulls in Phoenix and Mew by the way of Jesus and Mary Chain on Crash Course Christmas, resulting in a seasick wave of a pop tune. “It’s a song about the guilt of not prioritizing your relationships. It’s been year of rainchecks and Christmas finally gives you some time to reflect. You’ve experienced so much and changed so much as a person that you almost forget your origins. Coming home for Christmas can then be a ritual of finding your way back to what you left behind." Drawing on the knitwear from the film Love, Actually, Turtle Neck, taps into the Backstreet Boys by way of Mac Demarco, with a sneaky reference to the legendary Norwegian Christmas hit En Stjerne Skinner I Natt. Album closer This Christmas / Next Christmas leans in on the hook for the Norwegian Christmas TV show Jul i Blåfjell, a multi-generational seasonal staple (essentially a daily children’s advent calendar kids show). “The song is about your parents ageing and needing your help – possibly really far away - while at the same time having your own children to take care of”. The cover artwork is a homage to Christmas dress codes for Norwegian men. Suits and shirts are a rarity in day to day life, but there are a handful of occasions that require some form of formal attempt at a suit: New Year’s Eve, National Day, weddings & funerals, and Christmas Eve: resulting in various degrees of sartorial elegance on the day (and on this instance, a hot summer’s day stifling the Christmas vibes, with ambiguous apparel instructions ahead of the photoshoot!).

Merry Christmas! Sunturns are Ola Innset – vocals, guitars, banjo. Sjur Lyseid – vocals, guitars. Einar Stray – vocals, keyboards, guitars. Eivind Almhjell – guitars, bass. Simen Herning – guitar. Jørgen Nordby – drums.

Housed together in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With logo, we proudly present the Be With 10 Years record and book package.

Record contains 10 exclusive never-before-on-vinyl tracks from 10 Be With family members. 310mm square softcover book printed on a 350gsm woodfree uncoated board. Book block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. 140gram vinyl with a 380gsm jacket. 1000 copies only for the world, no repress!

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."

Apnea Records proudly welcomes a new face to the family, though one whose name resonates deeply in the electronic music world. Versalife, also known as Conforce, steps onto the label with the first of two meticulously crafted EPs in the "Parallax Effect" series. With a career spanning over 20 years of sonic innovation, Versalife delivers a masterful blend of broken rhythms, metallic textures, pulsating synths, and analog tones. From industrialesque electro to deep IDM explorations, "Parallax Effect PT.1" takes listeners on an immersive journey through cutting-edge soundscapes. And with Part 2 on the horizon, this is just the beginning of an exciting new chapter for both Versalife and Apnea Records. Pure bliss for lovers of forward-thinking electronic music!

The album SABABU is a vibrant ode to the quest for the opportunities that shape our existence. We are invited to seize the infinite chances open to us, capable of leading us to unsuspected horizons if we know how to recognize them. SABABU is a captivating blend of haunting rhythms and deep ballads, combining traditional heritage with contemporary sounds.

Aboubakar Traoré's heartfelt cries are both passionate and demanding, and he takes on universal themes of injustice, love, heritage and the quest for freedom. Through powerful lyrics, he denounces the exploitation of African resources, political and economic domination, while celebrating the resilience of peoples and the richness of traditions.

But SABABU is also an ode to life, love and the strength of family and community ties. Carried along by a deep groove, the album takes the listener on a musical journey where intimate emotions and collective reflections mingle, creating a bridge between past and present where each rhythm resonates as an invitation to move, to come together, and to celebrate life.

Debut album "Tama Tama" was nomitad by Octaves de la Musique 2021 and the band was selected to showcase at Visa For Music (2023) in Morocco and Belgian Worldwide Music Night (2023) in Brussels.

8/10 FULL-PAGE LEAD REVIEW IN UNCUT: “TALENTED ARTISTS SUCH AS ALDOUS HARDING , DELANEY DAVIDSON, IVY ROSSITER AND MARLON WILLIAMS REPRESENT A FRESH COUNTRY-FOLK/AMERICANA MOVEMENT IN AND AROUND CHRISTCHURCH AND DUNEDIN. NADIA REID'S IMPECCABLE DEBUT WILL MAYBE SET A WIDER ORBIT IN MOTION.”
4/5 LEAD REVIEW IN MOJO: “INSPIRED DEBUT BY A YOUNG NEW ZEALAND SINGER-SONGWRITER YOU'LL FEEL YOU'VE KNOWN FOREVER. A WONDERFUL ALBUM"

SUNDAY TIMES DEBUT OF THE WEEK: "SHE RANKS ALONGSIDE LOW AND THE COWBOY JUNKIES FOR DELIVERING SLOW-BURN EMOTION"
"It has all that well-smoked wisdom, that mingling of strength and yearning that seems to charge the work of all my favourite female artists – Laura Marling, The Weather Station, Sharon Van Etten and Tift Merritt, to name but four. Reid is just 23, and since I am loathe to run that “old beyond her years” line, let us simply say that when I hear a young artist making an album as soulful and rich and self-possessed as Listen to Formation, Look for the Signs, I feel so thrilled not only for the existence of that record but for all the music they will make over all the years to come.” THE GUARDIAN PLAYLIST
6MUSIC ALBUM OF THE WEEK
A richness of voice; a depth of emotion; and wise beyond her years; with Listen To Formation, Look For the Signs, 23-year-old New Zealand native Nadia Reid has claimed her place as one of the country’s most evocative and profound young songwriters. Her music traces the sharp mountain peaks, azure coastline, and mirrored images of the land and sky that pinpoint her home country’s vast open landscapes.
Whether nerding about with friends, stunning audiences into silence with her spellbinding live shows or unwinding in the tranquillity of her favourite hometown spot overlooking Port Chalmers’ harbour through her large-rimmed spectacles, Nadia Reid has achieved a gloriously fresh and eloquent new folk sound. “I’ve been in New Zealand my whole life and guess at times I take for granted the serene beauty that I live so closely with,” she says of her music’s majestic affiliation with nature. Mapping out tales of change and loss, whilst drawing inspiration from reading, writing, the human condition, falling in and out of love, death, and birth - it all lends to a superbly balanced album that moves surreptitiously between sparse and fragile melancholia to beautifully brutal lyricism with a philosophical maturity that bellies her years.
Born in Auckland, Nadia’s acoustic roots stem from an upbringing in a musical household where attending folk clubs and festivals were regular occurrences on the family calendar. “I was lucky to witness a lot of live music and theatre performances because my mum was an actress. I was encouraged to learn piano and guitar, and attended a Steiner school where we spent a lot of time in nature, singing songs.” Before long Nadia was listening to The Be Good Tanyas with friend and fellow recording artist Aldous Harding, which spurred her chosen career path. “There was something spiritual about the Tanyas’ records - I vividly remember the goose-bump feelings up my arms, a true connection to the lyrics and vocals,” she recalls. “Aldous was the first person who told me I had a good voice and I thank her for that. I admire her as an artist and writer, and we like to keep up with what each other is up to.”
Creating her own enchanting wonderworld, each of Nadia’s songs explores the elements; truly organic, her vocals ebb, flow and soar but are always ignited with fire from the gut. Her lyrics clearly reference lush landscapes but equally reflect alienation provided by the surrounding Pacific Ocean and mortality of living in such close proximity to Mother Nature’s wrath, as experienced whilst living in Christchurch at the time of 2011’s devastating earthquake. “It shook the city to its core,” Nadia recalls. “I’m sure living through it has shaped my personality and writing. My first EP was recorded just months afterwards, it was a strange time. We were all quite fragile, but I was braver somehow.”
Boldly infusing folk with full flavour, Listen To Formation, Look For The Signs was produced by Ben Edwards, owner of Lyttelton Records in his Sitting Room studios with Nadia’s band consisting bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum. Whilst 'Reaching Through’s rich but unhurried nature evokes She Hangs Brightly -era Mazzy Star and intricate nuances of Beth Orton are recalled on lead single ‘Call The Days’ which talks of moving to a new town and was the first song penned after Nadia moved from Christchurch to Wellington; spurred on by a “panic attack” and being “worried about making the right choices in life”. Elsewhere ‘Runway’ and ‘Some Are Lucky’ immediately channel Nadia’s love of TBGT’s Jolie Holland and appreciation for New Zealand’s Maori music by Maisey Rika and Anika Moa, plus the inspirational narratives of Kenyan-born Somali poet Warsan Shire.

Francoise Hardy's Vogue years have marked the history of French and international music. Even today, the five years between 1962-67 remain an exceptional moment in her career, the one when she exploded in the eyes of a generation that was born during or just after the Second World War, the generation that would be part of the May 1968 Paris protests. Hardy exploded not only in France alongside her fellow 'Yeyes', but also internationally where she became the symbol of French elegance, talent and charm: the United States, Japan, the United Kingdom, Germany, Italy, Spain... no one could resist Francoise, and she recorded most of her hits in English, Italian and German. 'Tous les garcons et les filles', 'Mon amie la rose', 'L'amitie', 'Le temps de l'amour', etc. are songs that have crossed generations and can be heard in recent movies (Wes Anderson loves Francoise Hardy and has included her songs several times in his films), international television series ('The Walking Dead', 'Industry', 'Week-end family') and advertising spots (Dior 2022 campaign). Available on x24 trk, double Black LP Vinyl & single CD formats. Marketing activity.

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Ghostly 25 Year Anniversary Edition. Thus far, Zach Saginaw's releases as Shigeto have been fragments, albeit singularly satisfying fragments -- EP-length glimpses into the Detroit producer's creative psyche. After filling two EPs on Ghostly International, Shigeto's lush, sumptuous take on instrumental hip-hop has fully materialized. Full Circle, the artist's first full-length album, completes the journey begun with Shigeto's Semi-Circle EP, synthesizing the drummer/producer's signature themes of family, continuity, and musical boundary-pushing into a vibrant, fully unified artistic statement.The sounds on Full Circle come from four years of obsessive field recording and collaboration. Saginaw brought his Tascam mini-recorder with him everywhere, capturing the "glasses, chains, breathing, children, family meals, monks singing in cathedrals, walks in the south of France, and good friends offering their musical skill" that would all find homes in the record's compositional nooks and crannies. As a result of Saginaw's constant documentation, the songs on Full Circle play like chapters in an ongoing story--as in "Escape from the Incubator", whose initial rhythmic claustrophobia opens up into a boom-clap nocturnal chase, or "French Kiss Power Up", whose romantic digital strut gives way to discord and fragmentation as the waves of synthesizer give way to a shaky, neurotic coda. Full Circle is framed by the "Ann Arbor" diptych, a pair of beat suites named after Saginaw's hometown (one featuring a sample of Detroit MC SelfSays), all double-thick synths and triple-strength kick drums. Saginaw plays the majority of his rhythms by hand, and Full Circle's consistently deep pocket is the record's secret weapon, thumping and breathing like a living being.Having set the stage with Semi-Circle and What We Held On To EPs--twin treatises on Saginaw's Japanese grandmother's escape from a US internment camp--Shigeto is clearly ready to draw the tale to a close and take center stage. "This release represents the end of the beginning--or perhaps that there is no end and no beginning at all," says Saginaw. Regardless, Full Circle is the start of something great.

Not at all dangerous, but no less powerful and devoted to one another, the Coppola family have loomed large in film and the arts for decades.
The head of this particular family was not a Don lurking in the shadows, but a brilliant composer arranger and conductor: Carmine Coppola.
On the face of it, this album is a bit of a curiosity, though it was surely the first recording to bring together music from both Godfather films in this way.
Its original release coincided with a high-profile television event called The Godfather: A Novel for Television (also known as The Godfather Saga).

The extended cut necessarily featured additional music and arrangements, which were overseen by Carmine Coppola.
We can safely assume that at least some of that forms part of what is included in The Godfather Suite. For it, Coppola selected and re-arranged musical highlights from the two films,
including all of Rota’s main themes and his own source music pieces, creating what is essentially a 14-part symphonic suite.

It’s all rather beautifully executed, with great romantic flourishes, and it’s a fitting tribute to Carmine Coppola’s talent, not to mention his contribution to two legendary films.
Carmine Coppola himself passed away just months after the release of The Godfather Part III. A highlight of that final score is the ‘Love Theme’,
which was the basis of Carmine Coppola and lyricist John Bettis’s Oscar-nominated original song ‘Promise Me You’ll Remember’. The instrumental arrangement is included here in addition to the Suite.

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

For Talia Hoit from Colorado, who has been classically trained to play the piano since the age of five, her early musical education has definitely paid off. Now she writes original songs, performs on vocals and keyboards, and composes orchestra scores for symphonic metal. For many years, she has also had a passion for writing songs outside of any formal band situation, and is now working with talented producers and musicians to bring her most personal and intimate songs to life to share with the world. For five years, Talia was the keyboardist and a songwriter for the band AnaDies. Presently she is the lead singer, orchestrator and co-songwriter in the symphonic metal band Beyond Forgiveness and the keyboardist for the metal band Ob Nixilis. As a solo artist, she recorded two original home studio albums for personal purposes, Fate’s Too Small (2007) and A Little Longer (2012), which had a limited physical CD release only, mostly just for friends and family. Back in 2019, she recorded the single Angel (produced by Jarek Musil), which just recently received a new master, and after the experience of working with a professional producer she decided to pursue her solo project, to professionally produce and commercially release as many of the personal songs she had written over the years as possible. In 2023, she released two more singles: Abandon and Whispers in the Storm. Her extensive experience in the music industry and understanding of classical music are quite audibly reflected in these works, which show a high level of quality and expertise. Talia’s music is definitely a treat for symphonic metal fans and heavy music lovers, showing influences of bands such as Within Temptation, Nightwish, Evanescence, and Visions Of Atlantis.

The only album to soundtrack both late-'70s Minneapolis lounges and a Travis Scott x Dior fashion show. Recorded in a host of living rooms with only a Fender Rhodes piano, a Donca Matic Mini Pops drum machine, and Senrick's wide-eyed, 20-year-old voice, the 1977 LP disappeared into the wild and joined the Wendigo in Minnesota lore. A provocative mix of marina soul, easy listening, and loner folk, Dreamin' is a sanguine sliver of the American private mind garden. Harsh winters coupled with a relative lack of interest amongst siblings allowed Chuck Senrick years of unfettered access to the family piano in their Farmington, Minnesota, home. Learning both by ear and by instruction, Senrick began gigging professionally at age 15, joining John Zimmer and the CR4 for a weekly rundown of Allman Brothers, Blind Faith, and Cream covers at the Sea Girt Inn in Lake Orchard. Tapping into James Taylor's pop-chart achievements in songwriting and enunciation, Senrick composed the bulk of the songs featured on Dreamin' before graduating from Farmington High School. At 20, Senrick migrated 30 miles north to the Twin Cities to pursue music full-time. Using borrowed equipment and borrowed living rooms, a string of informal recording sessions generated the quarter-inch tape for Dreamin'. "I didn't know how to do it," Senrick says about producing an album. "I just knew it could be done." Constructed with vocals, Fender Rhodes, and an assortment of rhythm presets on his Donca Matic Mini Pops drum machine, a mere 200 copies of the private-press masterpiece were stamped and sleeved and sold hand-to-hand at performances. Chuck's wife Lesli illustrated the album cover_a pen-to-paper portrait of her husband against the backdrop of the Minneapolis Skyline, she and their newborn son situated on a nearby knoll. Any plans for a re-press were quashed when producer Bruce W. Hansen lost the reels during a messy divorce. "I was a kid with big ideas and not much hope to do anything but play," Senrick said of the Dreamin' era. "It still amazes me that people are interested in it."

imited White Vinyl

Norwegian post punk duo Mayflower Madame return with their 3rd Studio album and we are delighted to welcome them to the Up In Her Room Family!

Norwegian band Mayflower Madame is set to release their highly anticipated third LP Insighton 1st November 2024. The lead singles, "A Foretold Ecstasy" and "Paint It All in Blue," have garnered widespread acclaim and extensive radio support, including airtime on BBC 6 Music. These tracks offer just a glimpse of what the album delivers—an expansive canvas of pulsating post-punk, shimmering shoegaze, and atmospheric psych-noir, masterfully blended with delicate sonic nuances.
Mixed and mastered by Maurizio Baggio (known for his work with The Soft Moon, Boy Harsher, and The Vacant Lots),Insightshowcases the band refining their sound into a sharper and more expansive sonic landscape than ever before. This album sees them exploring greater depths and heights, delivering a hypnotic journey through the shadows, filled with haunting melodies and dreamy melancholia. At the same time, it remains catchy and dynamic, with moments of vibrant brightness.
Insightis dedicated to frontman Trond Fagernes' stillborn daughter and is bookended by two songs—"Ocean of Bitterness" and "Insightfor the Mourning Hours"—that directly address this profound sorrow. Between these somber pieces, the album delves into a wide range of emotions, from nostalgic reflections on lost loves to feverish depictions of escapism and catharsis.
Over the past years, Mayflower Madame have gained a reputation far beyond their hometown of Oslo, Norway. They made their debut with the album ‘Observed in a Dream’ in 2016, which created a buzz in the indie music press and earned them tours across Europe and North America, while 2020s long-awaited sequel ‘Prepared for a Nightmare’ firmly established their position as one of the continent’s leading purveyors of cinematic shoegaze psychedelia swathed in 1980s post-punk and dark romanticism.

A Universe of Pop: Fleetwood Mac’s Tango in the Night Features Meticulous Production, Includes the Hits “Big Love,” “Everywhere,” “Seven Wonders,” and “Little Lies”

Experience the 1987 Album in Audiophile Sound for the First Time:

Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Captures the Perfectionist Details

1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

The perfectionism involved in crafting Fleetwood Mac’s Tango in the Night reached a level of intensity experienced by few artists before or since. Commercially and creatively, the painstaking efforts paid off. Recorded over the span of 18 months, the triple-platinum album spawned four hit singles and put Fleetwood Mac back at the center of mainstream conversation. Its demands also ultimately forced its primary architect, guitarist-singer Lindsey Buckingham, to leave the group shortly after its completion. Was it all worth it? A thousand times “yes.”

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set of Tango in the Night presents the 1987 record in audiophile sound for the first time. Everything co-producers Buckingham and Richard Dashut sought to instill in the music — the exacting tones, gauzy textures, plush atmospherics, shifted harmonics, unique pitches, pristine acoustics, biting rhythms — can now be heard with elevated accuracy, range, depth, and detail.

Made under challenging circumstances, Tango in the Night is as much a universe of sound as it is an album. This reissue conveys that sonic spectrum in exhaustive manners that go beyond prior editions by playing with a combination of transparency, imaging, openness, and dynamics that provides uncanny insight into the meticulously layered vocal and instrumental tracks. Equally important, it also amplifies your connection to the elaborate melodies, contagious hooks, and airy highs that account for the album’s ageless pop brilliance.

As for the wondrous array of percussive accents, synthesizer elements, interlaced guitars, and lush choruses — all seemingly occupying the exact right place amid the soundstages and taking on shapes and forms that lend them a living, breathing quality? If your audio system is up to the task, the realism, presence, and warmth of Mobile Fidelity’s collectible edition will have you considering Tango in the Night from a new perspective — one that puts its lavish, gorgeous creations on a par with those from Rumours and Tusk.

Unlike those records, Tango in the Night began from a more individualistic perspective in that it sprang from what originally was intended to become a Buckingham solo effort. Instead, it remains the final album credited to the peak Fleetwood Mac lineup involving Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie. Though the participation of all the members varies from track to track, the cohesive arrangements and alchemic production on Tango in the Night suggest a unity that remains on a par with the band’s other landmark works.

Largely constructed from laborious methods that involved recording at half speed to achieve the desired sonics and tonal nuances, piecing together verses and choruses to attain seamless synchronicity, and Buckingham using a Fairlight CMI synthesizer/workstation in visionary ways, the songs pair electronic and acoustic elements to radiant effect. Tango in the Night also possesses light dance structures that resulted in several tunes being recast as dance mixes on extended-play singles. Above all, however, this is music that appears to float and cast dreamy spells.

Surrender to the frisky interplay of the opening “Big Love,” big pop punctuated with Buckingham’s back-and-forth “oh-ah” sighs that ping the Top 5 smash with innocuous sensuality and toe-tapping momentum. Delight amid the shimmering lights of “Seven Wonders,” whose shades and shadows shift amid Nicks’ raspy vocals and a large group chorus. Wrap yourself in the warmth of the weightless “Everywhere,” a flawless slice of hummable pop that topped with Adult Contemporary charts for three weeks and towers as an ode to the love everyone desires. Stare into the mysterious landscape of the title track (and dig the synthesized harp) just before it explodes, briefly ceding to a terse riff and locked-in grooves.

Tango in the Night teems with delightful surprises and well-honed specifics, especially when Buckingham and Christine McVie team together. In addition to the aforementioned “Everywhere,” the singer born Christine Anne Perfect plays a major role on four more cuts — all highlights — from the breathy, head-over-heels emotionalism of “Mystified” to the sweet, sweeping escapism of “Little Lies,” a cover-up of romantic despair aided by Nicks’ irreplaceable background vocals.

“If I see you again/Will it be the same,” asks Buckingham on “When I See You Again,” finishing up a song a longing-sounding Nicks had started while voicing words that many likely knew would resonate far beyond the confines of the heartfelt song — a goodbye wearing a faint disguise. Though Fleetwood Mac would never again reach the heights maintained throughout Tango in the Night, and members would go their own way, the album towers as a paean to what’s possible in the fields of pop, rock, and studio wizardry.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

„Brighter days are up ahead“, verkündet Dwight Yoakam im Titeltrack seines neuen Albums Brighter Days, seiner ersten Veröffentlichung von neuem
Originalmaterial seit neun Jahren. Brighter Days wurde in den letzten drei Jahren geschrieben und aufgenommen und enthält 12 brandneue Songs,
die von Yoakam geschrieben bzw. mitgeschrieben wurden, sowie zwei scheinbar ungleiche Coverversionen von „Keep On The Sunny Side“ von der
Carter Family und „Bound Away“ von Cake, die kunstvoll und in dem unverwechselbaren Stil, der nur von Dwight Yoakam stammen kann, zu einem
Gesamtwerk verwoben wurden. Die mitreißende Leadsingle „I Don't Know How To Say Goodbye (Bang Bang Boom Boom)“ wurde von Yoakam
speziell für eine Zusammenarbeit mit dem selbsternannten Dwight Yoakam-Superfan Post Malone geschrieben.
Yoakam hat Brighter Days selbst produziert und dabei eine moderne Reverenz an die Geschichte der Country-Musik mit dem Pioniergeist des
kalifornischen Rock'n'Roll verbunden. Das Ergebnis ist eine Mischung aus handwerklichem Können und Unmittelbarkeit, die den typischen Dwight
Yoakam-Cool“ einfängt, der den zweifachen Grammy-Gewinner seit Beginn seiner legendären Karriere von seinen Country-Kollegen unterscheidet.
Wie üblich sind Yoakams Texte auf dem gesamten Album sowohl täuschend mühelos als auch ergreifend. Brighter Days wurde von dem
Weltklasse-Ingenieur Chris Lord-Alge abgemischt.

Vintage George Benson vocals on vinyl & CD, float over orchestral reimagining of beloved American Standards & Soul Classics in this incredible collaboration with renowned composer and conductor, Robert Farnon.

The brand new 10-track collection, once thought to be lost to history, was recently discovered in Benson's personal vaults and remastered to their original glory.

With this new release, Benson marks a musical return to the Warner Family --a Homecoming to the place where he had his most profound commercial success.

Tiny Mouse Tales was released in 2018. At the time, Evgeny was living in a house surrounded by forest. One night he noticed movement in his kitchen and saw a mouse. The mouse kept coming back but seemed to have different features each time! Eventually Evgeny understood that it was a family of mice, and the title of his new record was evident. On Tiny Mouse Tales Evgeny tells the musical story of the family of mice living in his home, expanding his palate to include the trumpet to great effect on tracks such as “Hunter In Love” and “Prologue.” The blog Spellbinding Music sums it up perfectly: “With short pieces such as “Prologue”, “Epilogue” or “Carousel”, the Tiny Mouse Tales EP sketches wonderful cinematic themes begging to be expanded and heard on the big screen.” Naive Album was released in 2019. Album opener “Where Art Thou” announces the arrival of a masterpiece. More than ever, Evgeny’s compositional voice is fully formed. Each track feels like a journey in itself, and the album has several crescendos that make the listener feel as if there is an entire orchestra backing Evgeny. The album closer, “Unexpected Finale Somewhere in Lisbon,” perfectly encapsulates this masterpiece. Running through three separate, repeating themes, the track is at times mournful, intense, epic and humorous. Witness the picked / improvised violin notes on top of the relaxed accordion theme that makes up the second half of the track. Although the record was recorded in Lisbon, this track has the feeling of a stroll down the Seine in Paris, a silhouette dancing with heels clicking left and right. Now, these treasured recordings and pieces of Evgeny Grinko’s creative world will be available in physical format for the first time.

Phase Group are thrilled to present our next release by newcomers to the label, the excellent Hamburg band, Love-Songs. Their new album 'Passive Progressive' will be out on cassette and digital on October 18th.

Love-Songs are the trio consisting of Thomas Korf (electronics + vocals) Sebastian Kokus (Bass) and Manuel Chittka (Percussion) who make cosmic, kraut-inspired electro-acoustic music. Many will be familiar with their previous output on wonderful labels like Kame House and Bureau B.

'Passive Progressive' lands in the form of 8 enthralling tracks that take us through dreamlike and psychedelic echoing territories, where Korf’s modulating electronics and effected vocals ripple over the grooving rhythm section of percussion and bass supplied by Kokus and Chitka. Across the album, the band are joined by a host of guest musicians and friends from Berlin and Hamburg’s underground and experimental music scenes, supplying Trombone, Mbira, Clarinet, Flute and extra synthesisers and vocals to enhance the mind-expanding and unique sound palette of these incredible tracks.

As with most of the material we’ve released on Phase Group, this is music that’s hard to pin down, that lends itself equally well to creating transcending atmospheres in the early moments of a special kind of club set as to soundtracking a mind-bending and deep personal listening experience. We’ve no doubt that the sound that Love-Songs have crafted with Passive Progressive will be enthusiastically received by all sonic voyagers and fans of the label, and we’re over the moon to welcome them to the Phase Group family.

Passive Progressive is available on limited cassette, with double-sided risograph print artwork by Andrija Čugurović.

Seth Troxler’s Slacker 85 imprint prepares to expand its repertoire of ne’er do wells and inspired outsiders, with two new singles shining a flashlight on talent at the characteristically esoteric producers on the fringes of Troxler’s always increasing circles.

American-Ecuadorian sound engineer and musician Andre Salmon has already left his fingerprints on underground dance music’s global scene, developing the current iteration of Inner City with Kevin Saunderson, as well as collaborating with house icons Paul Johnson and K’Alexi Shelby. Having already made a fixture of his supremely effective ‘Heartless’ mashup of Saint Etienne’s classic ‘Only Love Can Break Your Heart’, Slacker now welcomes Salmon to the family to exercise his studio technique and ‘sacred resonance’ deepness. The result is ‘La Mano de Dios’, a voluminous dance on the edge of house and techno, as smooth and impressive as the jets descending above the Terrace at DC10.

From Detroit to the East Coast, TB-203 delivers a contrasting energy on ‘Movin’. A fresh alias of NYC DJ, producer & label owner Tommy Bones, this bubbling, raw acid workout finds fresh heat at the intersection of jackin’ hip house and latin freestyle, driven by loose and lively vocals from DannyP. Underscoring Slacker 85’s commitment to party over posture, ‘Movin’ has been tried and tested to deliver on its old-school promise.

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."

The 24 songs on this double album are in some ways a completion. Together with Young Man Songs here are nearly all the songs Kerry Lee Crabbe and Daryl Runswick wrote (and Daryl sang) which are good enough to be issued. The subject matter here is wider ranging than on Young Man Songs:love songs, but also family, heroes and antiheroes, zen, celebration, nostalgia, philosophy, life and death.

Daryl Runswick writes: "I first set Kerry Lee Crabbe's words to music in 1967; for the last time in 2010. Our most prolific period was 1970-1980 during which time we had considerable success as a songwriting team, though we didn't have big hits. The pinnacle for us was when Cleo Laine recorded a whole album of our songs (One More Day: well worth looking out for on vinyl or CD). There are a number of reasons for our lack of hits: songwriting was for neither of us our main job - not 'the principal source of his revenue' as Paul Simon put it (One Trick Pony) - we did it in our spare time. Also, neither of us had any interest in being an entrepreneur, nor did we employ a manager to push the songs; also, perhaps we were snobs who disdained moneygrubbing; but perhaps the main reason was that these are art songs: art songs in the style of pop music, yes, but not aimed (other than tangentially) at the commercial market.

We'd have loved to have hits but that's not why we did it and we didn't bother overmuch flogging our wares around. Kerry and I were introduced to one another as undergraduates at Cambridge University. Kerry had written the book and lyrics for a musical (Someone is Squeaking) and I was instructed by Clive James, then President of the Footlights Club where I was Musical Director, to compose the songs. It was put on at the Edinburgh Festival Fringe in 1967 with Julie Covington in the lead role. Kerry directed and I was musical director, playing piano in the accompanying trio. After that summer I went down to London to be a jazz bass player while Kerry had a further year at Trinity College, Cambridge. After he came down, we got together again and continued making songs."

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

Thirty years after it was released on CD and cassette, Fuemana’s cult classic New Urban Polynesian album is finally available on vinyl. Born from the blood, sweat and tears of the late great Polynesian renaissance man Phil Fuemana and his family and friends, Fuemana’s music transports the listener back to the autumn and winter days of 1994 in the antipodes, where they turned love, loss, grief and acceptance into the finest R&B/street soul album ever recorded in Aotearoa New Zealand.

Fuemana spent several late nights tracking one-take sessions at The Lab Recording Studio with engineers Simon Taylor, Chris Sinclair and Mark Tierney. From there, New Urban Polynesian came together quickly. Across the album, Phil showed off his prodigious skills as a multi-instrumentalist and producer, playing most of the smooth, sophisticated, and heartfelt music himself. In the studio, he shared the lead with Christina and Matty J, supported by a cast of backing vocalists, musicians and guest vocalists, including a young Carly Binding.

From the lush openings of their soulful Roberta Flack, Donny Hathaway, and Stevie Wonder covers ‘Closer’ and ‘Rocket Love’ to the misty new jack swing serenade of his original ‘Seasons,’ Phil’s goal was to craft material that would let the music industry know the Fuemanas had arrived while also inspiring the next generation.

In 1995, the Fuemana family’s youngest sibling, Pauly, borrowed the initials from Ōtara Millionaires Club and began performing as OMC. Not long after, he changed everything for New Zealand music by recording the feelgood guitar-laced Polynesian pop global mega-hit ‘How Bizarre’ with producer Alan Jansson.

Consumed by a desire to do more musically, Phil established Urban Pacifika Records, where he launched the careers of a new wave of Pacific hip-hop and R&B talent, including Lost Tribe, Moizna, AKA Brown, and Sani Sagala, aka Dei Hamo.

In 2005, Phil tragically passed away from a heart attack aged 41. Five years later, Pauly, equally tragically, joined him after an extended battle with a rare neurological disorder, leaving Tony and Chirstina to grieve and make sense of their family’s extraordinary story.

When New Urban Polynesian first hit record store shelves in 1994, the Fuemanas dedicated the album to their father, Takiula Fuemana. Three decades later, it has expanded in meaning to become a remembrance of their youngest brother Pauly and a celebration of the life and times of their big-hearted big brother, Mr. Fuemana, Mr. Phil Fuemana.

Words by Martyn Pepperell in conversation with Tony & Christina Fuemana.

Gazebo Records feel honoured for the opportunity to share this important album for our inaugural release, now available for the first time on vinyl with remastering by Mikey Young.

All proceeds from this record flowing to the Fuemana family.

Moon White Vinyl. All her life, Emma Hardyman has wrestled with contradictions. After all, she was practically rendered a living, breathing contradiction the moment she was born into her half-Peruvian, half-white working-class Mormon family. In young adulthood, Hardyman became increasingly disillusioned with Mormonism's righteous black-and-white thinking, as well as its exclusionary elitism, and decided to leave the church. But she also acknowledged that the institution's all-or-nothing philosophy had become a part of her, resulting in a considerable test of grace and unlearning. As the singer-songwriter behind Little Moon, the Tiny Desk Contest-winning, Utah-based avant-folk project, Hardyman uses music as an outlet to illuminate contradictions of all kinds. Following the release of her 2020 debut LP Unphased, Hardyman set out to write a romantic album about her newlywed husband Nathan (who also sings and plays guitar in Little Moon), but the universe had other plans. After Nathan's mother tragically passed away, Hardyman recalibrated her vision and started work on a love-as-grief, grief-as-love album titled Dear Divine. The record serves as a mirror for the darkest parts of ourselves, allowing us to examine our ego_not to dismantle it, but to better understand how we love, process adversity and move through the world. Centering the classical music, folk, video game soundtracks and Tabernacle Choir hymns she grew up with, as well as ephemeral snapshots of personal significance, Dear Divine is an abundant tapestry of Hardyman's life. As enlivening melodies radiate from a string trio, you can envision the classical music that thrums from her parents' radio 24/7, as Hardyman sings in an otherworldly coo, you can imagine her younger self swooning over the tranquil records of Vashti Bunyan and Joan Baez, and as arpeggiated synths twinkle, you can visualize the enchanting kingdom of Hyrule from The Legend of Zelda: Ocarina of Time that she still adores. Songs like "now" and "messy love" embrace the gloriously jumbled stew of life, with the former chronicling Hardyman's arduous quest for love and trust and the latter patiently navigating the ways romantic partners can mirror each other's shortcomings. As Dear Divine attests, Emma Hardyman may not have it all figured out, but that's kind of the point. Through grief, faith crises and all-encompassing love, she's found the most wisdom in life's maddeningly consistent inconsistencies, as well as the subtle ways one can cultivate a feeling of home. Dear Divine doesn't take a red pen to life, it brings an open heart, an open mind and achingly beautiful, opulently weird folk songs.

"After her first album ""On n'enferme pas les oiseaux"" certified Gold in France and internationally, a Victoire de la musique, a second place at Eurovision 2021 with her song ""Voilà"", certified Platinum in France and internationally, Barbara Pravi is back with ""La Pieva"", a new album full of passion and emotions which will be released on September 6, 2024. ""La Pieva"" means ""the singer"" in Serbian. For this album, Barbara is inspired by her ancestor, the widow Milovanovic. A gypsy girl who lived in the mountains of Serbia and went from village to village to sing for the villagers. Barbara comes from her family and like La Pieva before her, she tells stories. Life, death, family, the world around us. Love too, friendship, humanity.
Reviews in Times, Guardian, Standard, Le Petit Journal, The Line Of Best Fit"

Steve Leach's Balearic beach-funk beast Ocean Potion, recorded with the Crystal Grass Orchestra is an absolutely ace, Ned Doheny-adjacent funky AOR / blue-eyed soul BBQ classic from 1976.

Who is Steve Leach, you ask? None other than Seasick Steve in a previous life! A French-only release on Philips, it's a hugely immediate, pop-funk firecracker. It features a wonderfully lush, full orchestral sound throughout, underpinning Steve's gorgeous voice and an army of brilliant backing vocalists.

The supporting cast is phenomenal and is arguably the salient reason this is such a fantastic record. We're talking legendary players from the French scene (think Arpadys, Voyage, Kongas, CCPP, Giant, Swing Family) such as Don Ray with his arranger-conductor hat on as well as synths, Marc Chantereau on percussion, Slim Pezin on guitar, André Ceccarelli on drums, Christian Padovan on bass and Pierre Halation on flute.

With these snakes behind the scenes, it remains a mystery how Ocean Potion is so relatively unknown. Hopefully, this long overdue reissue rectifies this and puts a stop to people dropping $200 on it.

Triumphant, horn-forward opener "The Light Of The Mind" has that uniquely Ned Doheny fidgety funk feel with a fantastically irresistible chorus and great harmonies. Just magic. The insouciant, swaggering "Hey! Hey! What You Doin To Me" is straight up white-hot feel-good funk with by turns sweeping and stabbing strings and a neck-snapping break. Crucial. Coming off like something off The Beach Boy's Surf's Up or Holland (including a sneaky "reason to live" reference that surely nods to "The Trader") is the brilliantly ominous, driving wall of sound of "Take Strength". Cavernous drums, urgent strings and a staggeringly good vocal performance make this a real highlight amongst an album of highlights. The blissful folk-funk of "The Lady Of The Sea" is a real naked heartbreaker, melancholic vibes and a beautiful flute line complementing each other perfectly. Side A closes out with "All My Life", a groovy island-funk white-reggae-tinged lilter which just about lands the right side of acceptable.

Side B opens with the gorgeous "You're The Only One Girl" before the propulsive Philly soul of "At Least We Got Love" elegantly glides into focus. Pulsing beats and piano working with that irresistible orchestra of grass. Glacial ballad "All Love's Children" has a deep New Orleans soul feel that truly soars whilst the breezy "Get Out In The Sun" owes a debt to "Crocodile Rock". It's pure pop for now people and wouldn't have been out of place on a late 70s Nick Lowe effort. Deep late-period Beach Boys gem "Golden Hues" is another heavy melancholic down lifter that really beguiles before the real reason you're all here. Pastoral closer "I Meditate Each Day" is just beautiful, and likely the reason this reissue is giving you that special feeling. Another gorgeous flute-led, folk-funk groover, it featured in a memorable mix from the Creme2laCreme crew (Raphael Top-Secret, Jerome Qpchan and Antoine Kogut) live on Red Light Radio over a decade ago and has been top of many heads' wants list never since. Just mellow out.

As ever, the audio for Ocean Potion has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve featuring a topless Steve reclining next to his piano on a flatbed truck on the beach (of course?!) has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Latin funk at its finest. A kingpin player of Miami’s Cuban music scene, Ray Fernandez, brought together his ‘court’ for this sensational Afro-Cuban funk triumph. Largely a family affair, the album features his wife, two sons and a range of other talented musicians including Rickey Washington on saxophone, father of the contemporary jazz maestro Kamasi Washington. Originally released in 1973 on Manuel J. Mato’s iconic and collectible Sound Triangle Records, Ray & His Court is a dose of Miami heat fuelled by a Cuban fire, taking in salsa, soul, funk, calypso and Afro-Cuban rhythms.

A kaleidoscopic album that draws influence from a range of different genres and scenes blended together in true Ray Fernandez style. Side A, showcases an array of traditional Latin workouts including the addictive enticing opener 'La Señorita Lola' and the pulsating 'Lo Sabia' with its punchy horns and Ray’s wonderful, quirky bubbling organ groove. The tantalising ‘Venimos Acabando’ and bouncing organ stabs of ‘El Alacran’ are two further tickets to get a dancefloor vibing.

The B-side then steps things up, slipping a hit of heavy-weight Miami funk into the mix. Take the DJ favourite ‘Cookie Crumbs’ with its fiery bassline, tripped-out voiceovers and breakbeat drums. Or the amazing, memorable and truly unique funk instrumental ‘Soul Freedom’ with some mighty fine bass clarinet work courtesy of Gary Gottfried. Also featured is a seductive organ-led Cuban funk rework of Bobby Hebb's 'Sunny' (are there any bad versions of this song?), with a sumptuous female vocal that combine to serve up a seductive take us this much-loved classic.

'Ray And His Court' is a brilliant blend of Afro-Cuban gems and Miami funk heat from an influential group on Miami’s Latin music scene. A majestic and magnetic classic where every track is a surefire winner.

Hank Dogs – Andy Allan, his partner Piano and Lily, Andy’s daughter from a previous relationship - started out at folk clubs in London in the early 1990s before going worldwide in 1998 when legendary producer and late 60s Folk Rock guru, Joe Boyd declared them the first British act he'd loved in 30 years. Their debut album ‘Bareback’ saw them touring the US with Joan Baez and winning fans with their quiet, haunting sound featuring ethereal vocal harmonies, strong traces of blues and Celtic music and Allan’s fluid acoustic finger-picking recalling UK folk guitarists such as John Renbourn. Another part of their appeal, particularly in the States, was their ‘Carter Family’ image but then, when Andy and Piano split-up in real life, so did the band. A follow up album ‘Half Smile’ appeared in 2002 but this turned out to be their swansong. However, the story was not quite over yet.. a third unreleased album ‘Fiveways’ had been recorded before they went their separate ways and now it’s finally seeing the light of day on South London label Scratchy Records, plus the band are re-uniting for some long overdue gigs to celebrate the release. ‘Fiveways’ contains much of the Hank Dogs’ trademark English folk/US country-straddling sound. Piano’s voice bounces between early Suzanne Vega, Tracey Thorn and Mary Margaret O’Hara with occasional hints of Dolores Cranberry and Bridget St. John, while underneath the acoustic guitars run freeform tangled and Lily’s backing vocals add sky. Stand out track ‘Logic’ with its pensive lyrics and haunting guitar line recalls the way Suzanne Vega (her again) could sometimes make songs stand still in their tracks but it’s the dreamy ‘Nut’ that really captures the mood “You had me when I was sweet as a nut.. Not sweet enough” sings Piano. This is the sound of two ex-lovers still able to work together but unable to hide the odd dig here and there.. like a follow up album a couple of years later on from ‘Blood On The Tracks’. Andy sings a few songs too including the raggedy, swashbuckling ‘Gazetteer’ revolving around a ‘Pre-CBS Maple neck Sunburst bought off The Pretty Things’ and hinting at a whole lifetime of music biz escapades from watching his dad Elkan Allan produce 60s TV show ‘Ready Steady Go’ to a stint on bass in The Professionals along with Steve Jones and Paul Cook. Next year the story carries on with his long-running South East London ‘Easycome’ club night featuring in US TV queen Lena Dunham’s new Netflix series ‘Too Much’. Towards the end of the album an angelic setting of Dylan Thomas’s ‘Do Not Go Gentle Into That Good Night’ in the song ‘Nod’ recalls Christmas TOTP number ones from days gone by and captures Hank Dogs ability to transport the listener. This album is definitely one for the dreamers. FFO Pentangle, The Innocence Mission and William Blake

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.