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Celebrate the 30th anniversary of Disney’s The Lion King with the music from the film, for the first time on zoetrope vinyl. Watch the characters from the film come to life while listening to iconic songs including “Circle of Life,” “I Just Can’t Wait to be King,” “Hakuna Matata,” “Can You Feel the Love Tonight” and so much more!

FOR FANS OF: FLEETWOOD MAC, THE DOOBIE BROTHERS.
1971 in Los Angeles gegründet, gehören The Eagles zu den bekanntesten Country-Rock-Acts weltweit. Einen wesentlichen Anteil am Erfolg der Band
hatten ihre musikalischen Köpfe Glenn Frey und Don Henley. Die Gruppe verkaufte weltweit bislang über 150 Millionen Tonträger. Diese limitierte
Vinyl Schallplatte enthält legendäre F.M. Recordings von 1994 inklusive den Mega-Hits "Hotel California" und "Peaceful Easy Feeling".

"We had a conversation recently where we realized that we’ve been a band for almost 10 years. When we started Wild Rivers way back when, we had never played a real concert before. When we made our first record it was our first time stepping into a real studio. We barely even knew each other when we started this band. Since then we’ve played a thousand shows, recorded over 30 songs, and become a family.

When we set out to record ‘Never Better’, we felt like we were at a new stage of the band. By that point, we’d put in the hours and all began to feel totally self assured in what we were about to do. We wanted to bring everything we’ve learned over the years and all that we’ve been through as a group to the project. We chose to trust our guts and move quickly and confidently in every decision, second guessing ourselves as little as possible. In having this mindset, we were able to completely let loose and go deeper into the process, finding new ways of recording live, swapping instruments, and turning these songs on their heads. We couldn’t have made this record a few years ago.

We approached this record with the mindset, ‘this is who we are’. We aren’t pretending to be something we’re not, or trying to sound like anyone else. We wanted it to feel easy. We wanted the stories to be real. We wanted to show our true selves as best we could. We’re proud of who we’ve become as people and as a team. We truly feel like we’re having the most fun with music that we’ve ever had, and in the most exciting stage of our lives. We’re never better."

"Limited-Edition, 1LP on Sea Blue Vinyl as a retail exclusive, and std black vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Grateful Dead's third Arista album, and their first recording of the 1980s. More than 40 years since its debut, GO TO HEAVEN is packed with songs that remain classics of the Grateful Dead canon, including “Althea,” “Feel Like A Stranger,” “Alabama Getaway,” “Lost Sailor/Saint Of Circumstance,” and Brent Mydland's first two original contributions to the Dead's live and studio output, “Far From Me” and “Easy To Love You.” – David Lemieux"

"Limited-Edition, 1LP on Sea Blue Vinyl as a retail exclusive, and std black vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Grateful Dead's third Arista album, and their first recording of the 1980s. More than 40 years since its debut, GO TO HEAVEN is packed with songs that remain classics of the Grateful Dead canon, including “Althea,” “Feel Like A Stranger,” “Alabama Getaway,” “Lost Sailor/Saint Of Circumstance,” and Brent Mydland's first two original contributions to the Dead's live and studio output, “Far From Me” and “Easy To Love You.” – David Lemieux"

Bristol's cultured Innate label is back with a first outing of the year and it returns to their various artists format with a mix of talents all making their mark. UK veteran Tom Churchill opens up with 'Unknown Unknowns (Edit)', which brings plenty of fuzzy and lo-fi aesthetic to jacked up drums and spaced-out pads. Rai Scott then shows her class with 'Suasion' that sinks down deep into immersive drums and is subtly lit up with simmering strings. Innate co-founders Owain K and Gilbert then hook-up under their brand new alias Curved Space and showcase their love of electro with 'Reverie,' a dreamy cut that glows with nice celestial melodies and will have dance floors in a zoned-out state. Last of all it's Lisbon mainstay Jorge Caiado who debuts with the chord-laced 'Floating Without Lifting,' a sophisticated and serene jazz-techno cut that takes you to the stars.


DJ Feedback

Richard Sen:
"Lliking the Tom Churchill and Curved Space tracks. Will try and fit them into the show and in the club."

Laurent Garnier:
"A lovely EP indeed!"

Jayson Wynters:
"This is a great release. Nice varied tracks for different moods. Will certainly be playing this."

Anna Wall:
"Lovely VA! Thanks so much for sharing :) Faves are Jorges track and Rai Scott. Really beautiful music!"

Ewan Jansen:
"Great listen mate - a good gang assembled too."

DJ Guy:
"The EP is gonna be incredible..."

Orlando Voorn:
"I like em all!"

Moy:
"This is another really wikid V/A!"

Hizou:
"Thanks a lot, so good music here!"

Appleblim:
"I love the Tom Churchill - very detroity and deep, beautiful!"

Baldo:
"Thanks for this release, I love your track with Gilbert and also Jorge's! pure class!"

Alex Attias:
"Sounding dope! I’m feeling this great ep, thank you so much."

Chris Duckenfield:
"Many thanks for sharing, it’s a strong EP for sure. B2 probably my immediate fave."

Adam Shelton:
"Wicked release! Love all tracks, thanks so much."

Alien Communications:
"Love the EP, really like all the tracks but your own, Reverie, is definitely the strongest for me."

Dan Curtin:
"Sounding so lush...really really great. "

Vine Watson:
"Sounding great!!!"

Crack Cloud has always been something beyond a rock band: both profound and grand, vaporous and elusive. The first iteration of Crack Cloud was formed nearly a decade ago as a proxy-rehab outlet on the fringes of Calgary. Over time, two EPs and accompanying visual pieces were produced out of the residence known as Red Mile. By 2017, several members had relocated to Vancouver, working out of harm reduction centers and low-barrier shelters. Sobriety, self-reformation and the idealism of their work further formed an ethos for Crack Cloud. It was during these years that the band produced their astounding 2020 album Pain Olympics. At once, their vision became expansive, cinematic. Now, Red Mile is a bit of a homecoming. Members have returned to Calgary. But Calgary/home has become a liminal space, a place of flux. After a decade of personal and collective growth, what does home even mean? Red Mile is, for them, something like samsara: a return and a rebirth. Red Mile's sound breathes expansive energy into the circuitous, street bound sonics of Crack Cloud's prior material. Fizzling synths intertwine with chiming pianos. Songs layer like Russian nesting dolls; one may find a Ramones chorus set within a desolate Western prog soundtrack only to watch it erupt into a joyous anthem. Real-ass guitars _ alternately lilting, scuzzy and soaring _ ring out across wide sun-bleached spaces. In 2024, the cumulative effect is (in rock instrumentation terms) naturalistic. Any whiff of embalmed nostalgia is absent. Even the close of the album - a winding, almost Jerry Garcia guitar noodle that leads us out of Red Mile - is delivered without sentimentality. Principal songwriter Zach Choy's lyrics are cutting but merciful, with a sharp self-awareness that never slides into self-satisfaction. Crack Cloud as artists are critical _ and ultimately as forgiving _ of themselves as they are the melting world around them. The songs balance an easy charm and cathartic power: affirming life without denying death. Recorded predominantly between the outskirts of Joshua Tree California, and Calgary, Alberta, this record is informed by a bittersweet mélange of old and new. The sprawling, novelistic structures of their previous albums are condensed and sharpened, while maintaining their refusal to delve into superficiality. Through playful melodies and elliptical guitar soliloquy, they deliver a final product of exceptional depth and distinctly unprecious warmth. Crack Cloud have produced a mature, vital work that interrogates the platitudes of the rock-n-roll lifestyle, but ultimately exalts its sacredness. Red Mile's de facto thesis statement "The Medium" is itself a rock song meditation: an ode to the form and its practitioners. This genre that _ typical, repeatable, corporatized as it can be _ somehow still has the power to help us live through life. We see the dusty sentiment of "I love rock and roll" exhumed, taken apart, and stitched back together. It's a song guided by faith _ if the medium helps us proclaim our love today, it's worth protecting from derision tomorrow. We live in an era where music seems to love hitting its head against the wall. Crack Cloud's Red Mile is the sound _ the feeling! _ of the bricks giving way.

Crack Cloud has always been something beyond a rock band: both profound and grand, vaporous and elusive. The first iteration of Crack Cloud was formed nearly a decade ago as a proxy-rehab outlet on the fringes of Calgary. Over time, two EPs and accompanying visual pieces were produced out of the residence known as Red Mile. By 2017, several members had relocated to Vancouver, working out of harm reduction centers and low-barrier shelters. Sobriety, self-reformation and the idealism of their work further formed an ethos for Crack Cloud. It was during these years that the band produced their astounding 2020 album Pain Olympics. At once, their vision became expansive, cinematic. Now, Red Mile is a bit of a homecoming. Members have returned to Calgary. But Calgary/home has become a liminal space, a place of flux. After a decade of personal and collective growth, what does home even mean? Red Mile is, for them, something like samsara: a return and a rebirth. Red Mile's sound breathes expansive energy into the circuitous, street bound sonics of Crack Cloud's prior material. Fizzling synths intertwine with chiming pianos. Songs layer like Russian nesting dolls; one may find a Ramones chorus set within a desolate Western prog soundtrack only to watch it erupt into a joyous anthem. Real-ass guitars _ alternately lilting, scuzzy and soaring _ ring out across wide sun-bleached spaces. In 2024, the cumulative effect is (in rock instrumentation terms) naturalistic. Any whiff of embalmed nostalgia is absent. Even the close of the album - a winding, almost Jerry Garcia guitar noodle that leads us out of Red Mile - is delivered without sentimentality. Principal songwriter Zach Choy's lyrics are cutting but merciful, with a sharp self-awareness that never slides into self-satisfaction. Crack Cloud as artists are critical _ and ultimately as forgiving _ of themselves as they are the melting world around them. The songs balance an easy charm and cathartic power: affirming life without denying death. Recorded predominantly between the outskirts of Joshua Tree California, and Calgary, Alberta, this record is informed by a bittersweet mélange of old and new. The sprawling, novelistic structures of their previous albums are condensed and sharpened, while maintaining their refusal to delve into superficiality. Through playful melodies and elliptical guitar soliloquy, they deliver a final product of exceptional depth and distinctly unprecious warmth. Crack Cloud have produced a mature, vital work that interrogates the platitudes of the rock-n-roll lifestyle, but ultimately exalts its sacredness. Red Mile's de facto thesis statement "The Medium" is itself a rock song meditation: an ode to the form and its practitioners. This genre that _ typical, repeatable, corporatized as it can be _ somehow still has the power to help us live through life. We see the dusty sentiment of "I love rock and roll" exhumed, taken apart, and stitched back together. It's a song guided by faith _ if the medium helps us proclaim our love today, it's worth protecting from derision tomorrow. We live in an era where music seems to love hitting its head against the wall. Crack Cloud's Red Mile is the sound _ the feeling! _ of the bricks giving way.

- New signing to Basin Rock label who released breakthrough albums by Julie Byrne, Nadia Reid, Aoife Nessa Frances, Jim Ghedi, Andrew Tuttle, Trevor Beales….
- Limited edition black vinyl with download code.

French lullabies and traditional folk songs dating as far back as the 14th century, adapted with contemporary arrangements and faint tape manipulations in Dublin, Ireland.
Imagine Serge Gainsbourg, John Martyn and Gábor Szabó squeezed on a small stage in the early hours of a smokey backstreet Parisian jazz club, slowly hypnotising the audience into hypnagogic hallucinations.
Growing up, Kevin Fowley split his time between living in France and Ireland. He listened to French lullabies sung by his mother in one room, while his father would be playing Donegal tunes on the fiddle in another. “I’m lucky to have been brought up bilingual and bicultural,” he says. “What I find interesting is that I usually think in English, but if I intentionally start thinking in French, a markedly different side of my personality comes through, encouraging different thought patterns.”
And this is apparent on his beautiful record of French lullabies À Feu Doux, which encompasses musical elements from both worlds, as it seamlessly glides across folk, jazz, and a rich yet shimmering in between sound. Varnished and exposed is the feeling that floats through À Feu Doux like a gentle gust of wind creeping in through the open window at night. Real night time music.

For the 20th Pleasure Club release we are very happy to present an EP from two core members of the Pleasure Club family - Johnny Hunter & Remi Mazet.

The "Passing Through Fyah EP" comes via the connected mind of both artists, with a record which spans and blurs the realms of house, techno and electro. Characterised by dubwise basslines, cosmic synth work and expert drum programming, this one feels like the perfect way for us to celebrate the two zero milestone.

A big shout out to everyone who has supported the label until now. We really appreciate it <3

This album was recorded in Philadelphia in 1977 by Rare Feelings, a band led by Rick Mason, who was fully involved as songwriter, arranger, and producer while also supporting the band's groove as bassist. This is a superb example of one of the few soul and funk hard diggers that every hard digger has wished to have and has been lucky enough to acquire, and it is a masterpiece that is numbing not only in its sound but also in its vintage-inspired artwork! Rick Mason's bass roars, the organ and horns fold in and out, and a faintly haunting vocal (?) enters, blended with an exquisite psychedelic feel. The opening track "Rare Feelings" (A1) blends exquisite psychedelic sensation with slap bass, swirling intro, raging horns and organ, and then suddenly changes the tone to mid-tempo with the intertwining of bewitching vocals again. The song suddenly changes to a mid-tempo and leads to "Dope" (A2) with its bewitching vocals, a sound that is worthy of being called rare groove! The instrumental number "Metamorphosis Funk" (B2), which features not only bass and organ, but also continuous drum fill-in, fast cutting guitar and solo, and flute lead, is sure to get the floor going! This is the first official reissue in the world!

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

"Are Possible" is a spark-throwing, undulating fusion of styles played (mainly) on banjo, upright bass and drums, made possible by the individual perspectives of Nathan, double-bassist Casey Toll (Jake Xerxes Fussell, Mt. Moriah) and drummer Rex McMurray (CAVE) work together in an easy-rolling manner, but one that contains an expansive, ass-shaking confabulation of ideas. Music is time in redux: Are Possible"s many moments in time carry details from all over the place. Rex brought a rhythm to the table after drumming on buckets at work, Casey provided a bassline that redirected a previous jam, Nathan brought in a song he"d been fucking with forever and they figured it out together. Their diversity of sources moves easily within the arrangements, rendering a far-ranging set of feels, from transcendental to new country funk to good ol" jazz and the folk-rock, even - all of it drawn out exquisitely when they mixed at Electrical Audio in Chicago with the delicate hands of Cooper Crain upon the faders. The Nathan Bowles Trio have done their due diligence, passing their music through time and space on their way to now.

Dreamlogic and SW are two standouts in the outlier world of leftfield house music, and they find a perfect home on the equally out-there label that is Kimochi. This is the first time they have been on the same bit of wax (though both have been here many times as solo artists) and hopefully, it won't be the last. There is plenty of unusual rhythm work here with wonky grooves that are enriched with a world of superbly futuristic sound designs. All of these hard to define cuts are serious curveballs that bring a great element of WTF to any set, so do not sleep and add them to your arsenal ASAP.

Seeing the BellRays live is a revelation of what the rock music should be: an aggressive and soulful guitar-driven music that you feel in your guts. The BellRays have been channelling the true spirit of rock and soul since 1990, with this being their fourth blood-letting release. As expected this record oozes a genuine passion, combining the best of a 60s soul review with the fury of garage rock's greatest. Just imagine a young Tina Turner fronting the MC5 and you'll be getting close. But make no mistake, front woman Lisa Kekaula is no mainstream soul singer. Although her warm traditional R&B vocal stylings are big, lush and beautiful, her ferocity is uncompromising. When her rock growl rumbles the floor, you best pay attention, there are no options available. This is a band preaching the continuation of the rock'n'roll tradition in all its purity, anger and visceral power. The BellRays are on a self-professed mission to save rock music from itself and they need a witness.

Seeing the BellRays live is a revelation of what the rock music should be: an aggressive and soulful guitar-driven music that you feel in your guts. The BellRays have been channelling the true spirit of rock and soul since 1990, with this being their fourth blood-letting release. As expected this record oozes a genuine passion, combining the best of a 60s soul review with the fury of garage rock's greatest. Just imagine a young Tina Turner fronting the MC5 and you'll be getting close. But make no mistake, front woman Lisa Kekaula is no mainstream soul singer. Although her warm traditional R&B vocal stylings are big, lush and beautiful, her ferocity is uncompromising. When her rock growl rumbles the floor, you best pay attention, there are no options available. This is a band preaching the continuation of the rock'n'roll tradition in all its purity, anger and visceral power. The BellRays are on a self-professed mission to save rock music from itself and they need a witness.

Pelican Dub 001 presents a diverse selection of tracks crafted by DJ Merlín. It kicks off with 'Birth', an immersive opening tune with a desolate forest feel. The EP flows into Pacito and Sucram, two livelier tracks featuring breathy percussion, slimey analog synths and Birdlike FM cry’s. On the flip side, Theatre Dub (DNB mix) leads the way with heavy drums and cheeky melodies. Closing the EP is Morgana=Nostalgic, a smooth and wistful breakbeat perfect for late-night explorations.

forgive too slow, Avant Garde artist julia-sophie’s deeply personal debut album is testament to her ability to transform adversity into raw beauty, combining her traditional songwriting roots with her own take on experimental electronica. It features her intimate voice backed by warm and precise electronic sounds whose free spirited explorations give body to the carefully written personal songs julia-sophie comes off the drama of her 2010s rock band, Little Fish, which was signed to a major label. The surreal experiences (like being flown to Las Vegas in helicopters with a bag of slot machine money or given limousines for the day to go shopping), along with having to work in environments where she felt unsafe, drove her decision to leave the fame game. She turned down the offer to emigrate to America and engage with the machinations of the system as it did not feel “true or congruent with who I was”. Instead, she focused her attention on her hometown (Oxford, UK). She started recording lo-fi pop in her garage, using an old laptop, wonky microphones and hitting whatever was around for beats. Candy Says grew to be more of a collective than a band, and eventually co-wrote a film score for indie film Burn Burn Burn and recorded a cover of Running Up That Hill for the Netflix film Close (starring Noomi Rapace). Julia-Sophie soon started recording songs with her friend B, who had a studio stacked from wall-to-wall with analogue recording gear, vintage synths and drum machines. She decided to self-release and the music reached audiences beyond her expectations, including support from BBC Radio 6 and a feature in The Quietus. forgive too slow is Julia-Sophie’s debut solo album, and concerns relationships and the struggles we go through when we “forgive too slow” and can’t break out of patterns from the past. The songs narrate her story of self-destruction (“numb”), love (“falling”), and loss (“telephone”). By the end, embers are still burning and there is no telling if Julia-Sophie has found peace, but we do get a sense that she has gotten closer to the core of her being and is finally living authentically.

"The Best of Randy Newman is a mix of energetic hits like ""Mama Told Me Not To Come"" and soulful classics such as ""You've Got A Friend In Me."" With a range of genres and emotions, including satire in songs like ""Political Science,"" Newman's music resonates with timeless appeal. From Toy Story's iconic tunes to heartfelt ballads like ""Feels Like Home,"" it's a journey through Newman's enduring musical legacy.
Highlights: On sea blue colour vinyl for the first time as part of Rhino’s Summer Vinyl Campaign"

PANORAMA Records is thrilled to announce the reissue of 'Salsa Na Ma' by the legendary Colombian band Fruko Y Sus Tesos. Known for their infectious rhythms and vibrant energy, this track captures the essence of salsa with a dynamic blend of percussion, horns, and vocals. Originally released in 1973, 'Salsa Na Ma' is a timeless classic that continues to ignite dancefloors, with the B Side 'El Preso' originally released in 1976, pairing nicely here.

Following the successful reissues of Gitte and Inger's electrifying cover of 'Can't Hide Love' and Gustav Brom's dancefloor gem 'Calling Up The Rain,' PANORAMA Records once again proves its dedication to bringing hidden musical treasures back into the spotlight. This limited 7 inch release of 'Salsa Na Ma' comes remastered and packaged in a vintage-styled sleeve, complete with a handstamp for an authentic feel, as if you found it in a dusty crate in Bogotá.

The label has garnered serious support from a stellar lineup of tastemakers and selectors in just the first 2 releases, including Patrick Forge, Rainer Trüby, Gilles Peterson, Zag Erlat, and more. This reissue is a must-have for collectors and dj's, promising to deliver a heavy dancefloor reaction. Don't miss out as Panorama Records continues to set the standard for quality reissues in the music world.

Selector Series are back with more holy grail goodness, this time in the form of early 80’s boogie from Detroit.

Gene Dunlap was born and raised in Detroit, Michigan. He began his music career at age four when his father taught him to play the drums, honing his craft at Detroit Mumford High School. He went onto perform with Roy Ayers before releasing two solo albums in 1981, It’s Just The Way I Feel & Party In Me.

Party In Me, the title track from the LP backed with Take My Love was only released as a 12” promo in 1981. Now rare & in demand, if a copy can be found on the second hand market it will set buyers back more than £100.

Remastered using the original tapes and reissued for the first time since it’s release 43 years ago, fans can finally own a slice of classic boogie from the master drummer.

The opening track to the Alan Parsons Project’s Eye in the Sky remains the most recognized instrumental in sports—fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of “Sirius” sets the table for the band’s smash 1982 album, whose hallmark smoothness, lushness, and balance extend to the music’s exquisite song writing, dreamy emotions, and underlying orchestral scope. Credit for the record’s craft, cohesiveness, and accessibility also falls to Alan Parsons and creative partner Eric Woolfson’s knack for recruiting session pros that translate their visions with unquestioned feeling—particularly, vocalists who include former Zombie leader Colin Blunstone and soul singer Lenny Zakatek.

Mastered from the original master tapes, Mobile Fidelity’s RTI pressed 180g 45RPM 2LP version of Eye in the Sky features succulent warmth, magnificent balance, low-end heft, and see-through transparency that take you into the studio with Parsons at Abbey Road Studios. Each note seems perfectly placed, every sequence painstakingly considered. Boasting front-to- back depth, concert-hall-level separation, realistic presence, and bang-on accuracy. This release will test the capabilities of the world’s finest stereo systems. There’s more information, more texture, more nuance— more of everything to be experienced. British progressive rock would never again sound so sophisticated, suave, or steady.

The Brazilian composer, pianist and producer, Mário Castro Neves and his group, Samba S. A.'s self-titled album from 1967 is oozing with class. It possesses that archetypal 60's bossa nova, jazz, samba sound. We’d place it up there with Sergio Mendes at his finest, Tambo Trio or Milton Banana. It’s a breezy ride that touches on easy listening at times, but it holds it together with a cool swagger. Biba and Thaís Do Amaral's vocals are on point, with a relaxed delivery that compliments the tracks with the sublime beauty à la vocal groups such as Quarteto Em Cy, who Biba also sang with, as well as with Antonio Adolfo's e A Brazuca. Also appearing on the record is bassist extraordinaire, Novelli who worked with Milton Nascimento, Nelson Angelo E Joyce, Airto, and many of the greats of Brazilian music of the time.

The album has long been a favourite with DJs and collectors over the years, with songs selected for compilations by Gilles Peterson and Nicola Conte. One of the centrepieces of the album, 'Candomblé’, has been sampled by Cut Chemist on his track 'Povo De Santo'. The song 'Naña' is punchy and light with dancefloor-jazz appeal. The gloriously catchy 'Vem Balançar' is a brilliant bossa shuffler. A superb listen throughout, the album sticks to a framework but delivers in spades.

Though released on the major-label RCA Victor, original copies are elusive, sought-after items with a price tag to match. For this reissue, we have opted for the Mono master, mirroring the original 1967 Brazilian pressing. Instantly familiar, the album has a welcoming feeling of nostalgia and is something that stays with you from the first listen.

Facta & K-LONE’s Wisdom Teeth imprint continues its busy schedule of 10 year celebrations with the debut LP by H TO O: a new collaborative project by Japanese ambient artists H. Takahashi and Kohei Oyamada. Set across six distinct movements, the LP maps the different stages of the cosmic cycle through a series of dynamic ambient set pieces: from the exponential expansion of the universe in its infancy - here invoked by the bright, chiming album opener ‘Inflation’ - through to its inevitable collapse and rebirth, captured by the record’s driving, ominous closer, ‘Ever’. The record started life in Takahashi’s hands, initially intended as a solo follow-up to his acclaimed 2018 LP, Escapism. The Kankyō Records founder shared his early sketches with friend and collaborator Oyamada, who began to play with the arrangements, taking the work in an experimental new direction. Naturally the project evolved into a cooperative effort, and its final form is the result of an honest and fluid back-and-forth between the two artists. The collaboration marks a considerable shift in energy to the artists’ previous works - most of all in its foregrounded use of rhythm. Where Escapism was built from a series of gently lilting, dream-like vignettes, each movement of Cycle has a clear sense of forward momentum and purpose. Each composition builds from a set of sparse, meandering elements into something dense, cinematic and, at points, discordant. Although Cycle is at heart an ambient record, there is a club-informed feeling of forward motion running through the record, placing it in a similar sonic world to the beatless-but-rhythmic ambient techno of artists like Barker, Lorenzo Senni and Sunareht. Delicate and dramatic in equal measure, Cycle is a vital and exciting debut dedicated to the building of worlds - and to their eventual and inevitable dissolution. Genre: Electronic / Ambient

Air is the central element in Antonina Nowacka's third solo album Sylphine Soporifera. The title names an imaginary species and the land they inhabit, inspired by the unreal desert landscape of Paracas and the undulating tree-less hills of the Outer Hebrides, and comes from the writings of Rudolf Steiner, who describes creatures called Sylphs as the spirits of the air, and the Latin word sopor which means deep sleep.

As with all her releases, Nowacka's other-worldly vocals coming as if from beyond the veil, at once haunting, alien and utterly entrancing. "The voice is the most beautiful and resonating instrument,” she says. “When I sing I feel I create a field in between myself and the air in front of me," she explains. "It is not just that I'm singing – something in the space in front of me is happening, and I merge with this sphere.”

She conjures and is inspired by open environments and infinite landscapes: places full of light and air, manifested here in the sound of ocarinas from Budrio in Italy, whistles from Mexico, simple bamboo flutes from Nepal, alongside tremulous zithers, synthetic Hawaiian sounds from a vintage organ and the uncanny wind instrument presets from a 90s synth.

Nowacka’s first album was informed by vocal sketches made in caves in Indonesia, later recorded at a fortress in Poland; she studied Hindustani music in India with vocalist Shashwati Mandal, fell in love with early Cumbia in Mexico and Peru, and has more recently found inspiration in the landscapes of Italy. Hers is a new New Age soundworld that finds its origins everywhere and nowhere. Sylphine Soporifera gathers these sounds, visions and experiences into an album permeated with a sense of hope and fulfilment, that feels like sitting in an enlivening white beam of afternoon sunlight, as dustmotes swirl in the stillness.

Italian producer Toto Chiavetta returns to Mind Against's HABITAT with a spellbinding new single titled "My Eyes Are Failing". Off his new EP of the same name, the song is a haunting journey where crunchy textures and hypnotic melodies come together with the refrain, "I think my eyes are failing, but I feel my lungs inhaling," to envelop listeners in a dark, atmospheric soundscape. Featuring the mesmerizing Thom Yorke-esque vocals of Trenton, the new track showcases Chiavetta's mastery over immersive, emotionally-charged electronic music.

Bolstered by b-side single “The Sacred Space” and a club-ready alternative version from Toto himself, plus remix from Echonomist, the new EP rounds out to create a defining statement from Chiavetta. With a growing list of supporters that include industry heavyweights like Âme, Sasha, John Digweed, and Camelphat, to name a few, and previous releases on Innervisions and Diynamic, Toto Chiavetta is poised to make a big impact with this landmark release on HABITAT.

After a world-conquering 2023, UK electronic duo Gorgon City continue their next chapter by announcing their fifth studio album ‘Reverie’, out 19th July, alongside the new single ‘All That You Need’ featuring Caroline Byrne, out 4th April


Following the release of lead single ‘Biggest Regret (with Bbyafricka)’ at the beginning of the year and the club-ready ‘You Know It’ last month, the anthemic ‘All That You Need’ is another sign of things to come from Gorgon City’s upcoming summer LP, with a filthy bassline, bouncing synth toplines and distorted vocal melodies that instantly ingrain themselves into your memory

It's like waking up. Disorientated at first, feedback, crushed stones, voices, that's how it starts and you feel protected by this music in a strange way and encouraged to gain insight. As soon as you have begun to really like a chunk of sound and develop an interest in it, it is multiplied or destroyed in some way and someone calls out "Ich". Ich. LSD is hopscotch compared to that. Later, steel rails are dissected. It is ringing in the ears. Everything trembles. It is obvious that you are being looked after, that someone really cares. You are never left alone, whether you like it or not. And then inevitably comes the moment of silence, after being sent through old telephone cables and the nightmares of your ancestors. Pretty much the exact opposite of a podcast. Nevertheless, hits are not left out. Seth is predominantly seen as a harmful god – but by far not only.

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer `What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

To Celebrate the tenth anniversary of their groundbreaking debut album 'Sadnecessary', Milky Chance presents an exclusive vinyl premiere: a limited edition 7-inch picture disc featuring 2 acoustic songs.

With an acoustic version of the evergreen hit 'Stolen Dance' on the A-side and the fan favorite 'Stunner' on the B-side, this vinyl is a treasure for fans and music enthusiasts. Wrapped in the disguise of a homemade CD, it feels as if Milky Chance has personally handed over their old demos to you.

Things are getting better is a bold statement to make in a time when the world seems to be on the verge of world war 3 and the cost of living is rising beyond most of our reach. Five years ago when I started the Voices of Creation with Jack I knew the world would need new songs, new mantras and prayers for this new day that is dawning. We would need more faith, we would need love, we would need vision, and we would need each other. A part of every beginning is an ending, this is an observable law of nature. So it is with unyielding faith and a hopeful heart that I look out at this world and find reasons and ways to keep moving forward with love; making music that echoes with the sparks of this new world I’m working to see come into view. Things may be falling apart, old ways of being becoming unsustainable; death, war, chaos, genocide, famine, and floods; symptoms of the internal combustion of a society wracked with fear and given more access to weapons than to their own feelings.

This collection of songs are my testimony in a way, a sonic exploration of finding my faith and figuring out how to use my faith to navigate life and this great big old world after losing family (my mother Betty and my brother Keith) and in a way losing my sense of hope for what my future could even be. Through the writing and singing of these songs I healed myself of the doubt and mistrust of the unknown. I found a way to forge my faith into what is now a mighty sword of song, community, and ministry with the intention of healing myself and others. I’ve always felt as though melody and language were tools that could be agents of change and healing if used with intention and integrity. To witness the expanding joy and shared purpose grow within the choir and to see the contagious nature of faith and togetherness through our rehearsals and shows showed me how necessary it is to the human experience. This has been truly revelatory, further anchoring me in what I feel my purpose is on the planet; and that is to sing and bring to life more joy, peace, love, community, unity, faith, and praise. With more of those energies flowing around the planet, things will surely get better and better and better…ad infinitum. Word to Nina, Jimmy & Betty, and all my angels and ancestors riding wit me. We still here and God is still good.

"An artist's duty, as far as I'm concerned, is to reflect the times." Nina Simone

A vibrant kaleidoscope of sound, colour and emotion, British multi-hyphenate James Alexander Bright's new album 'Cool Cool' is set for release on 26th July via Athens Of The North. A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers span 10 songs that soundtrack fertile daydreams, esoteric dancefloors, languorous reflection, and wild excursions in nature and beyond. James' voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead on this new record. Whether tenderly caressing on the title track's beautiful soul minimalism or deployed passionately on boogie machine 'Straight Line'; it's an immediately recognisable signature. Impressive multi-instrumentalism sees him perform on guitar, bass, keys, programming, percussion, production and myriad quirky effects; across song subjects that cover searching for truth, imagining the distant future, teen nostalgia, relaxation exploration

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

DJ Mes brings the funk on this new outing on Guesthouse. It draws on samples from some of soulful house's most notable big tunes starting with 'Out of Order' which rolls on deep drums with nice smooth pads and summery vocals adding the charm. 'LGMH' rides on deeper, bigger bass and is a nice loopy and hypnotic jam with classic house vibes and a superb falsetto hooking you in. 'No Memory' is another fat-bottomed and feel-good house groove that rolls deep 'Werkin' Gurl' flips the script with more attitude in the vocals and header drums for some peak time fun but with no less emotion.

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. BALTHVS deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. BALTHVS deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

We Could Be Flying" is a rare and classic album by KARIN KROG, a world-class jazz singer from Norway, which has been loved since its original release in 1975. The presence of New York pianist Steve Kuhn, who also composes four of the nine tracks, creates a masterpiece that combines a mellow, gentle comfort with a jazz-like groove. The album starts off with the title track "We Could be Flying" with its solidly sounding rhythm and soulful Karin's vocals, followed by "Meaning Of Love," and the album starts off with a sound that is sure to please fans of jazz-rock. The fourth track is a cover of Joni Mitchell's "All I Want," which not only has a pleasant jazz feel, but also a groove that reaches its peak with the interplay of drums and piano and other instruments, making it a must for fans of jazz, rock, and American music. The sixth track, "Raindrops, Raindrops," and "Hold Out Your Hand" also challenge the listener with a danceable samba style, making this an excellent album in its own right!

This is the first release from "Wenha", the successor label of "Tribe", which was established by Wendel Harrison in the 70's. This album is full of spirituality and blackness, and it retains the philosophy of "Tribe", but it also incorporates the smooth feeling of the early 80's. This is the first release from "Wenha", the successor label of "Tribe". This is the first release from Wendel Harrison's "Wenha" label, the successor to "Tribe" and a collector's item that has always fetched high prices for its original version, but it has been highly acclaimed not only for its rarity but also for its content, which has made many experts in the industry gasp in delight. This is a superb gem that has made many pundits roar not only in terms of rarity but also in terms of content! The players on the side include Phil Ranelin (Trombone), Harold McKinney (Keyboards), Roy Brooks (Percussion), and many other Detroit heavyweights, including Phil Ranelin (Trombone), who founded the Tribe together. The album starts with "Take Time Out" (A1) featuring soulful vocals, followed by the spiritual jazz "Pink Snowballs And Violet Skies" (A3) with its exhilarating bellow, and then the jet-black groove-filled jazz funk number "Where Am I?" (B1) is a truly historical document that beautifully captures the transition from the '70s to the '80s!
For this reissue, the 7inch "No Turnin' Back / Rocket Love" released at the same time on "Wenha" has been added to VINYL as a BONUS DISC, and a bonus track "Patrina's Dance" (B3) has been added to the LP. This is the latest reissue of the album in a completely new guise!








[h] C1. No Turnin' Back [7-inch]
[i] D1. Rocket Love [7-inch]

The Entertainers, a South Carolina soul band led by singer Earl Dukins, released their first single 'Livin' For The Summer' in 1980, which became a smash hit, and their first album in 1983. The band's first album, released in 1983, was reissued for the first time with an obi. The album features a selection of well-chosen covers, including Chai Lights' 'Hot On A Thang', Bobby Patterson's 'I'm in love with you', Turley Richards' 'I won't cry anymore' and 'What are we gonna do', as well as the aforementioned 'Livin' For The Summer', the gorgeous string-tinged middle tune 'I'm Leavin' and original songs, all of which are full of modern soul with an exhilarating blue-eyed soul - AOR feel!