Cerca:first in line

Ltd. Marbled Vinyl. In the beginning, THERE WAS DOOM. The five piece gathers its forces together with the clear intention of celebrating in music one of the first raw appearances of metal: Doom! After a year or so of songwriting and the usual lineup setups, the 5-piece throws in what will become their first studio effort in 2005: a Heavy, Drunken, Doom, Metal demo (with their 700 sold-out copies, now fully downloadable due to popular demand), where the title "Heavy Drunken Doom" clearly and quickly reveals the attitude of the band. Cold Grave Marble, the 6th Doomraiser full doom length, is a frozen view in the darker side of life: Death, the Omega of our earthly dimension. The album is made up of raw riffing seasoned up in heavy, dark and gloomy dreaming atmospheres, and explores a plethora of styles with different sounds and solutions. The songwriting approach is rougher than before, experimental, suggestive, still preserving the classic Doomraiser characteristic sound.

Ava Mendoza has never made an album quite as personal as her second solo full-length, The Circular Train. Through her decades of collaborations with Nels Cline, Carla Bozulich, William Parker, Fred Frith, Matana Roberts, and Mick Barr—plus years leading her power trio Unnatural Ways and playing in Bill Orcutt’s quartet—the guitarist’s name has become synonymous with virtuoso technique, raw passion, and visceral resonance, a player pushing the edges of the guitar’s possibilities. Along the way, from 2007 to 2023, Mendoza was writing these slow-burning, incandescent songs. The Circular Train is comprised solely of her single-tracked guitar playing and, on two songs, her corporeal singing. Her first solo LP of original material since relocating from California to New York City a decade ago, much of The Circular Train was honed amid pandemic years that clarified the virtues of slowing down. This expressive avant-rock is a definitive introduction to one of the most uncompromising and inquisitive visions in creative music. Mendoza’s thrilling melange of free jazz, blues, noise, classical training, and blazing experimental rock’n’roll all coheres with ecstatic feedback, with picking and solos that crest with shimmer. Sometimes she sounds like a one-woman Sonic Youth with guttural and poised vocals that equally evoke Patti Smith and blues greats like Jessie Mae Hemphill. Conceptually, The Circular Train is presented as a psychogeographical train ride through certain of Mendoza’s musical homelands. The songs draw on ancestral and recent familial memories, notably of her parents’ roots in mining towns—in her father’s home country of Bolivia and mother’s hometown of Butte, Montana, each country with its own history of colonialism, racism, forced labor, the eradication of culture and the subsequent excavation of it. These adventurous songs were composed in cars and planes, in the heart of the Mississippi Delta, in Los Angeles and upstate New York—which is to say in motion. “Ride to Cerro Rico,” named for the mountain and silver mine at the center of Potosi, Bolivia, was inspired by Mendoza’s great grandmother’s life there in a Quechua mining family. “Dust From the Mines” drew from that history as well as Mendoza’s familial lineage of miners in Montana, building up to stunning swaths of shredded iridescence. “Pink River Dolphins” was inspired by a visit to the Amazon rainforest, swimming with dolphins alongside her father—the pink bufeos that inhabit both Bolivia and Columbia—and the song is dedicated to the memory of Mendoza’s late friend, the Colombian-American trumpeter jaimie branch. They shared a fascination with those intelligent and agile creatures who often communicate by echolocation. “Make a sound, it comes back around,” Mendoza sings, and later, “Echo, echo/The answer in a sound,” evoking what branch knew well: through music we navigate life. The Circular Train contains one cover, “Irene, Goodnight,” composed by Gussie Lord Davis and popularized by Leadbelly; Mendoza has been performing it for over 20 years. Almost as deeply embedded in her repertoire is the penultimate track, “The Shadow Song.” “Treat your shadow kind and it might treat you good,” Mendoza sings on this song that she’s been reworking for over a decade, an emblem of devotion. “Treat your shadow kind and it might treat you right,” she repeats, becoming a blues mantra. What is a shadow self if not one’s secret world, which, once laid bare, awaits an echo, a return?

Lily Seabird is a perceptive songwriter who can channel moments when everything feels raw and overwhelming into something healing and galvanizing. With Alas, the Burlington, VT-based artist's sophomore album, she confronts grief with palpable clarity on tracks that careen from delicate folk to blistering indie rock. While it's her second LP, it serves as a proper introduction to an undeniable and idiosyncratic voice. "Alas, sounds way more like me," she says. "This is the album I wanted to make in the first place." Though Seabird is now known as a solo artist and collaborator in Burlington's vibrant music community as the bassist for Greg Freeman and other acts, her journey started in Pennsylvania when she picked up the saxophone as a kid. At 14, she learned guitar and started performing as Lily Seabird. After a brief stint in New York City playing in bands, she moved to Vermont, which has been her home since 2018. "When I came to Vermont, I was playing solo a lot but then I started a band with Greg Freeman," she says. "Since 2018, it's been me and Greg and a bunch of different casts of characters have been in the band since then it's an ever-evolving thing. It's just us playing my songs."The songs on Alas, came from a particularly unmoored period for Seabird. "I wrote this album in 2021 and 2022 on the road, trying to figure out who I am," she says. "A lot of them also deal with the time when my close friend passed away. The title Alas, meant a lot to her." Even if the songs don't always directly tackle this specific loss, there's a sense of mourning in how relationships change and dissolve. Take "Grace," a reflection on female friendship, which features the lines, "I hope she's happy now she should be 25 / She taught me something that I thought I'd always hide." Elsewhere, the knotty and unpredictable "Dirge" finds her singing, "I don't know if I believe in god / I don't know if I know how to go on." Seabird and Benny Yurco produced Alas, which was recorded at Burlington's Little Jamaica Studios with Freeman and drummer Zack James (Benny Yurco). It's a quietly expansive album full of subdued, organic textures and moods. Songs like "Cavity" are lush and inviting with silky guitar and Seabird's expressive saxophone playing. The 10 songs on Alas, stretch out and leave space for introspection and deep listening with some tracks taking nearly seven minutes to mesmerizingly unfold. It's a remarkably assured and vital statement from one of the most promising new songwriters alongside peers Merce Lemon, Squirrel Flower, and Allegra Krieger."The album is about loss, coming of age, and sadness but there are also all these moments where happiness takes over," says Seabird. "It can be two things at once: life isn't just pain and sadness, there's also joy. They can all exist at the same time. Alas, is an expression of grief but it's also for letting go."

Equal parts soft and sorrowful, Myriam Gendron’s stunning Not So Deep As A Well LP became something of a sleeper hit upon its initial release back in 2014. Her debut album shone a warm lamp-light glow upon a curious and captivating new voice in the Quebecois folk world.
Nearly ten years on from its release in her native Canada and America, Not So Deep As A Well gets a European release for the first time this autumn, with a new pressing on the Basin Rock label (Julie Byrne, Aoife Nessa Frances, Trevor Beales, Juni Habel) which features two tracks not included on the original release - ‘Bric-à-brac’ and ‘The Small Hours’ - both written and recorded in the early days of 2014.
Recorded alone in her apartment, with no knowledge of sound engineering, it could almost be a lost artefact, a dust-lined document of a forgotten time and place. Taking the poems of Dorothy Parker, whose work Gendron stumbled upon by chance in a Montreal bookstore, she imbues the words with a graceful, gentle expression, a lingering sense of sorrow always present.
A stark, spellbinding collection, Not So Deep As A Well is raw and unyielding in so many ways we no longer expect to hear. As if sitting in the room with her, Gendron’s voice is cracked and unadorned, quietly forced into a push and pull between

Here, gleaming tensile techno forms clean, straight lines while scratchy acoustic guitars scuff up edges to produce

ghostly audio. Poetry is snatched from the overhead, removed from the overheard; words borrowed from the ether are

spun into dizzying new shapes, sometimes reappearing in new settings, twisted back to front, side to side. Each track a

very different room - some soundtracked by little more than metronomic kick drum and robotic voice, others deep in

layer upon layer of melody and euphoric noise - and each room unmistakably, uniquely Underworld. The only advice

from Underworld’s Rick Smith and Karl Hyde upon entering: “Please don’t shuffle.”

Strawberry Hotel features the singles ‘and the colour red’ and ‘denver luna’, as well as new release ‘Black Poppies’ - a

celestial love song, a hymn to the universe and to boundless, positive change. Ambient and beatless, Black Poppies is

a celebration of full dancefloors and the beauty of life itself.

Underworld are Rick Smith and Karl Hyde. Their peerless first album - dubnobasswithmyheadman - was released to universal acclaim in 1994. In the thirty years since that mould breaking debut, the band have established their reputation as one of the most groundbreaking and important electronic acts of all time, one that constantly pushes creative boundaries, twists genres, and refuses to stay still. In those thirty years, their music has soundtracked approximately 100,000,000 nights out, and the mornings after. In the past year alone, Underworld have played live in front of over half a million people across the globe.

"Perhaps best known for his long association with the legendary Muddy Waters, Otis Spann is largely recognized as one of the greatest blues pianists of all time, if not the greatest.

Although Spann made a name for himself in Chicago by the mid 1940s, it wasn’t until 1960 that he got the opportunity to record an album of his own. The sessions Spann did with Candid Records co-founder Nat Hentoff that year resulted in the legendary album Otis Spann Is The Blues. (Incidentally, this was also the first album ever recorded for the fledgling New York City based label.)

The tracks on Walking The Blues were recorded during those same sessions in August of 1960 in New York City.

Left on the cutting room floor, they would not be officially released until 1972, two years after Spann’s untimely death.

Robert Lockwood Jr., also from Muddy Water’s group, accompanies Spann on guitar here as he does on the Is The Blues album. But Walking The Blues also features Spann’s close friend, veteran singer and composer James Oden, better known to blues fans as St. Louis Jimmy.

Stripped down to just the these musicians, this magnificently performed and produced set showcases Spann’s voice as well as piano. Spann stretches out with his pulsing two-handed rhythmic attack, and brings the barrelhouse piano style of his youth in line with the modern Chicago style he embodied."

Robert Gordon entered New York City’s Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon–twelve years Presley’s junior–was high atop many lists. Gordon’s vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York’s vibrant punk scene. In late 1978, Gordon was signed to Presley’s longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon’s 1980 cover of John Beveridge and Peter Oakman’s “A Picture of You,” a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: “Lonesome Train (On a Lonesome Track),” “Summertime Blues,” and “Red Cadillac and a Black Moustache.

VSION 02 is the soundtrack to when the club's heartbeat matches yours; the first sip of water while cavernous drums engulf you. Kasra V's latest offering appeals to the glory days of the tribal side of 90s electronic music: sacred rhythms that echo influences from NYC clubs of past times and the freaky side of abstract dance music, while still retaining a unique flavor from his creative V-sion. Drawing a direct line from the shadowy corners of late 90s club culture to the avant garde, Kasra's world building is on full display, calling to mind both the full-bodied spirit of Victor Calderone's primal grooves and the voodoo beats of Exquisite Corpse. His most dancefloor oriented work to date, Kasra infused the energy of spontaneous jams into refined and layered sonic alchemy, utilizing vintage gear and pedals to evoke spiritually timeless flavors. The record is artistically represented by a Pierrot-esque visual, a perfect symbol for the playful psychedelia that is still entrenched in a hedonistic flair. There's more time in our ritual dance, take another sip.

Treat Her Right is the first ever vinyl compilation of the best tracks Roy Head released on the Backbeat label in the 1960s. They are his finest recordings, including the hit that launched his career, Treat Her Right. With most tracks produced by The Crazy Cajun himself, Huey Meaux (who also scored hits with Doug Sahm, Freddie Fender and so many others), they are the best examples of early southern swampy pop. Come do The Bug with Roy Head. With liner notes by Bill Bently and cover by Jad Fair (of Half Japanese).

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Smallville Records welcomes Barcelona’s Lis Sarocca onto the imprint this November with her four-track ‘Untitled Thoughts’ EP.

Since 2018, Barcelona, Spain’s Lis Sarocca has been steadily unveiling her take on House, Techno, Disco and Electro via the likes of Shall Not Fade, Hot Haus and Chiwax among others as well maintain a steady presence across the globe as a heavily in demand DJ. Here, we see Sarocca making her debut on Smallville with her latest collection of works, again showcasing her widespread influences and mesmerising sonic aesthetic across four cuts.

Up first is ‘Atacote’, a hypnotic house cut with a Balearic feel courtesy of breathy vocals, cinematic strings, piano lines and hazy atmospherics, intertwined with organic percussion and bouncy sub bass tones. ‘Breaks Reminder’ follows and shifts gear into a broken rhythm section, squelchy acid lines and textural synths throughout.
Opening the flip-side is ‘Early Years’, diving back into deeper realms with a multitude of ethereal pads, dubby synth flutters, plucked bass hits and crisp drums. ‘Might Be’ then concludes the EP on a more chuggy Nu-Disco tip, employing gritty bass stabs, bubbling arpeggios, airy flute melodies and a saturated off-kilter drum groove.

Comes with a Full Cover Artwork by Stefan Marx

Spyro Gyra, a jazz fusion band from Buffalo, NY formed in 1974 and created the framework for contemporary jazz in the 80s and 90s. Celebrating this milestone 50th anniversary of the band's formation, comes Jubilee, a new collection featuring 16 songs that capture the band's ever-expanding palette in its first decade of recording (1978-87) and includes fan favorites "Shaker Song", "Morning Dance" which have had chart success in multiple countries plus tracks the band continues to perform across the globe.

The new LP and CD contains never before seen photos from the band's early days and more recent world tours, liner notes from veteran music journalist Jonathan Widran and a newly recorded song, "50/50" - a riff on the title of the band's 1997 release 20/20, which marked 20 years and 20 albums.

Punk pioneers Crass continue their vinyl reissue series, repressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. 1983's 'Multi-Death Corporations' broke new ground by addressing, in the lengthy liner notes and artwork, the growth of corporations and the violent suppression of leftwing politics in Central America. The Austin-based band released material through ex-Dead Kennedys singer Jello Biafra, cited influences such as Black Flag and D.O.A, as well as working with Crass Records. Penny Rimbaud tells us; “MDC were one of the first American bands to follow the political mantle set by Crass in the UK. Straight-edge purist to the last mouthful of sprouted grass, MDC were equally fierce with their polemic and uncompromising politics. Sharp as a blade, they cut through the crap. ‘They meant it, ma’am’, and some.”

We are very happy to present our first vinyl release named The Sinergy between light and darkness.

We believe that when 2 forces as powerful as light and darkness merge, they create an omnipotent unit, giving birth to amazing creations, works of art like this release.

For this release, 4 tracks have been carefully selected that create a balance and synergy between light and darkness.



On side A we have Alquimic, curator of this project, with his track Reloaded, and Artesano Titer, a great Uruguayan artist who made us vibrate in the first edition of Cosmic Dance with his live set around the mountains of the Sacred Valley, and where he played for the first time this gem called Shake it.

Vibrant synthetic sequences, enveloping rhythms and bass lines and cozy melodies are manifested on this side.



On the other hand, on the B side we have Samuel Jabba, a great Colombian artist with countless incredible releases and a unique style with his track Schizoid, and Nicolás Longo, a great emerging Uruguayan artist who we had the pleasure of meeting and experiencing his music in the city of Cusco, with his track Secuencias en Capital.

On this side, dark and enveloping melodies, retro-futuristic atmospheres, vibrant rhythms and a lot of mystery are evident.

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

Wewantsounds is delighted to announce the release of one of Japan's most coveted albums of the 70s, "Mangekyou" by singer-songwriter Yoshiko Sai. Produced in 1975 by Master musician Yuji Ohno, the album features Yoshiko Sai's superbly crafted songs and crystal clear voice over Ohno's lush, funky sound and breezy arrangements. A strong buzz has been growing around the album over the years and original copies now change hands for large sums of money. This is the first time "Mangekyou" is available outside of Japan, featuring remastered audio, original artwork and a 4 page insert including new liner notes by Paul Bowler.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Quantum Baby is the second instalment of Tinashe’s BB/ANG3L trilogy following last fall’s first instalment, BB/ANG3L. The album includes the explosive single “Nasty” which is currently rising up the charts and has become the song of the summer amassing over 200M+ global streams. Billboard Hot 100 - #61, Top 5 Rhythm Radio, Spotify Viral US - #1, TikTok Billboard Top 50 - #2. The genre-blending album contains elements of R&B, Pop, Electronic and Hip-Hop. This album features production from Grammy Award Winning producer Ricky Reed, along with Nosaj Thing and more! Tickets are currently on sale for the North American leg of Tinashe’s Match My Freak World Tour, which kicks off October ‘24. The vinyl is housed in a gatefold jacket with printed sleeve and insert booklet. Available in standard black and a limited Indie Exclusive Edition pressed on Blue & Orange Swirl colored vinyl. Quantum Baby is the second instalment in Tinashe’s BB/ANG3L album trilogy. The first in the series, BB/ANG3L, was released Fall ‘23 and was followed by the BB/ANG3L tour and Tinashe’s first Tiny Desk performance. Tinashe began teasing the hit single “Nasty,” this past Spring, debuting the song at Coachella 2024. The song quickly went viral, to become the song of the summer. This led to everyone asking the most prevalent question of the summer: “Is somebody gonna match my freak?” “Quantum Baby is about getting to know me on a deeper level. It's about exploring who I am as a person and who I am as an artist. I’ve never been one to be put into a box, so the name Quantum Baby encompasses all the different parts that make up who I am as a creative,” says Tinashe, describing the album as “forward, hot and lots of bass

Arthur Russell first visited The Gallery in 1976 with his then boyfriend Louis, who introduced him to Nicky Siano. Arthur became a regular at the space and one night as Siano was playing “Turn the Beat Around”, which had just been released, Arthur waved at him from outside the booth and asked to come in. Nicky opened the door and Arthur suggested they make a record like this together. This ended up being a huge step for Siano as it marked the first ever production by a DJ making a record from scratch.

Arthur had written a song and had an arrangement for it so they assembled a band featuring Wilbur Bascomb who was one of Nicky’s favorite bassists, as well as, Allan Schwartzberg, David Byrne, Miriam Valle, Peter Gordon and Peter Zummo who were all friends of Arthur’s. Russell played the cello and piano – and that was the band. They recorded throughout 1977 and the “Kiss Me Again” 12 inch was finally released in 1978 on Sire Records selling more than 300,000 copies.

Week–End Records is proud to release the first ever reissue by this outstanding disco production. Remastered from the original tapes. With liner notes by David Byrne, Nicky Siano, Peter Gordon and Peter Zummo.

Pedals is the second studio album from post-hardcore band Rival Schools, released 10 years after their debut record United by Fate was first released. Pedals was recorded by the entire original cast, whom were seen as a tremendous influence within the post-hardcore movement. Where United by Fate was an album often ready to burst at the seams with energy, Pedals shows a more matured and controlled feel, even somewhat experimental at moments with bass tones and frequent use of acoustic guitars and distortion effects. Much like the 2022 reissue of Rival School's first LP, this reissue features packaging updates curated specifically by the band to create the definitive version of this record. The album's artwork has been updated with new gatefold packaging and a slip-case cover along with an updated set of lyrics and liner notes. In addition to all ten original tracks, the second disc of this edition includes three b-sides and four live tracks.

"Anywayawanna – The Best Of is a compilation album by The Beat Masters, a British producer trio who enjoyed considerable success in the late 80's/early 90's. As well as producing Yazz' smash hit ""Stand Up For Your Love Rights"" in 1988, they also landed several Top 20 hits under the Beatmasters moniker with a series of guest vocalists: The Cookie Crew (""Rok Da House""), Betty Boo (""Hey DJ / I Can't Dance (To That Music You're Playing)""), Merlin MC (""Who's in the House"") and P.P. Arnold (""Burn It Up""). These hits are all featured on this compilation album ""Anywayawanna – The Best Of The Beatmasters"". The Beatmasters went on to write, produce and remix for many other artists including Marc Almond, Pet Shop Boys, Blur, Roachford, Betty Boo, Naomi Campbell, Moby, Aswad, Eternal, Tina Turner, David Bowie, Depeche Mode, The Shamen and Girls Aloud. Anywayawanna – The Best Of is available on vinyl for the first time as a limited edition of 750 copies on orange coloured vinyl. The package contains an insert with extensive liner notes."

A Willed and Conscious Balance is the first album of material arranged for an ensemble by multi-instrumentalist composer Tomin Perea-Chamblee. The bulk of the album was recorded in one day at The Bunker in Brooklyn, NY by IARC house engineers Dave Vettraino and David Allen, and features a truly incredible lineup that includes members of Irreversible Entanglements and jaimie branch"s FLY or DIE. Tomin"s work with this group of veteran musicians is singular though, instantly setting this material apart from the discographies of its contributors.

A Willed and Conscious Balance is the first album of material arranged for an ensemble by multi-instrumentalist composer Tomin Perea-Chamblee. The bulk of the album was recorded in one day at The Bunker in Brooklyn, NY by IARC house engineers Dave Vettraino and David Allen, and features a truly incredible lineup that includes members of Irreversible Entanglements and jaimie branch"s FLY or DIE. Tomin"s work with this group of veteran musicians is singular though, instantly setting this material apart from the discographies of its contributors.

Paul Kelly"s latest album, "Fever Longing Still", his first of new original material since 2018"s "Nature", delivers 12 additions to his superb catalogue of love songs spanning more than 40 years. "Hello Melancholy, Hello Joy", as one of the new songs says. The album"s title comes from a line in Sonnet 147 by Shakespeare, whose writing has thrilled and inspired Kelly ever since schooldays. With love as the topic, Kelly finds a way to keep replenishing the creative well. Even if it can take some time for a song to surface.

2024 Repress

This EP is the first instalment in a series of four compilation releases that aim to showcase fresh electronic talent in the UK Electro/Techno scene. Future Funked sees Phil and Matt combining styles to create an electro throw down with chunky analogue basslines. Six Number Test is slow 808 workout from Abstract Knights, the owners of London electronica label Colony productions. Vorticism; Quick, tight beats, Robiotic Rhythms and deep sub bass make up the basis of Vorticism.X Insert is Menacing filtered bass lines, crunchy electronic beats, beautiful reverberant melodies and soft classic style Toytronic pads.

Expected late October/early November

Scott Gilmore’s Volume 01, an Analog Synth Gem, Makes Its Vinyl Debut - Pressed at 45RPM for maximum fidelity.

Recorded on a vintage Tascam 388, the LP version of Gilmore’s alluring, easy-going instrumental electronic record arrives in the physical world via In Sheep’s Clothing Hi-Fi Records.

Los Angeles, CA — When the Los Angeles electronic musician and multi-instrumentalist Scott Gilmore recalls the creation of the songs on Volume 01, he describes specific moments of spontaneous inspiration. “I remember sitting at the tape deck, watching the leaves outside the window as they flittered in the sunlight—a moment of stillness that became intertwined with the melody I was recording,” Gilmore recalls, speaking of the track “Song For Cate.”

This sense of simplicity and presence is at the heart of Volume 01, which was recorded entirely on a Tascam 388 using a carefully curated selection of instruments.

Volume 01, an intimate, instinctual album that mixes lo-fi digital rhythms, strummed guitar, and melodic synth layers, is a collection of songs that captures Gilmore’s magnetic fluidity and the spontaneity of his process. Initially released digitally and as a limited edition cassette, Volume 01 is set to be issued on vinyl for the first time by In Sheep’s Clothing Hi-Fi.

The Tascam 388 is a classic mid-1980s analog machine that combines an 8-track reel-to-reel tape recorder with a built-in mixing console. Volume 01 exudes the kind of hazy, nostalgic warmth that only such recorders can provide. For the nine-song album, Gilmore harnessed analog synths including the Arp Odyssey, Yamaha CS-01, Korg DW-8000, Hohner Pianet T, Roland TR 606, and Roland SH 101, as well as bamboo alto saxophone, clarinet, electric guitar, and electric bass.

The album is awash in brief, propellant pieces. At just over four minutes, the relatively epic “Horizon Line” is driven by a three-note snare pattern, a two-note cymbal tap, with a humble bass-line serving as the rudder; Gilmore’s improvised keyboard runs move with an intuitive, conversational glee. The pensive "Shade" sounds like it could be a Penguin Cafe Orchestra demo. Closing track “D. Hareem” runs on a wobbly time signature but with an insistent, determined rhythm that belies genre descriptives. “I prefer to not know what I’m making as I compose,” Gilmore says. “It’s when I can’t clearly define what the music is that it’s then something that I want to put out into the world.”

In hindsight, Volume 01 was a portent. After its 2016 cassette release, Gilmore connected with International Feel, the Balearic imprint run by Marc Barrot, to release the sublime Subtle Vertigo. In 2019, Gilmore’s music caught the attention of Marc Hollander, the experimental composer and founding member of Aksak Maboul, which led to a signing with the Belgian label Crammed Discs. That deal enabled the creation of Gilmore’s solo album Two Roomed Motel and Doctor Fluorescent, a retro-futuristic, Vocoder-heavy 2020 collaboration with Eddie Ruscha V, a.k.a. Secret Circuit). Across these projects, Gilmore’s work has been mentioned in the same sentences as Stereolab, Arthur Russell, Woo, Air, R. Stevie Moore, and others, all of whom have combined synths and non-synths to memorable effect.

With the upcoming vinyl release, Volume 01 will set into wax an enduring set of works, offering listeners the chance to experience analog artistry in its most authentic, tangible form. In Sheep’s Clothing Records is honored to bring Gilmore’s work to vinyl.

"• 25th Anniversary expanded edition available on CD and for the first time on vinyl. • Contains five previously unissued tracks recorded live, November 14, 1999 on Mountain Stage. • Packaging contains lyrics, photos, and liner notes from Peter Blackstock (No Depression, Austin American-Statesman) While gigging in Austin, Texas, in the late 1980s, Kelly Willis developed a strong fan base. Among her fans were other Texas musicians like Lyle Lovett and Nanci Griffith. Griffith introduced her to producer Tony Brown who signed Willis to MCA Records. Soon, she would find herself in the films Thelma And Louise and Bob Roberts, as well as receiving a nomination as Top New Female Vocalist at 1993’s Academy of Country Music Awards. After three records on MCA, and an EP on A&M, Willis finished her fifth release and signed with Rykodisc, who released What I Deserve in 1999. Featuring originals by Willis, three co-writes with The Jayhawks’ Gary Louris, and songs by Paul Kelly, Paul Westerberg, Nick Drake, Dan Penn, and more—What I Deserve became her highest charting album to date, hitting #30 on the Country charts and #24 on Heatseekers Albums. It is also now revered as a landmark release in Alternative Country and Americana circles—with good reason. To celebrate its 25th Anniversary, What I Deserve returns—expanded with five previously unissued live performances of songs from the album recorded November 14, 1999 on Mountain Stage. In addition to an expanded CD reissue, the release sees its first appearance on vinyl as a double-LP! In addition to the 17 tracks (appearing on both formats), the packaging contains lyrics and new liner notes from Peter Blackstock (No Depression, Austin American-Statesman), all done with Kelly’s approval. What I Deserve has always deserved another look and listen for those who may have missed it the first time—what you deserve is to lose yourself in Kelly Willis’ incredible What I Deserve and celebrate 25 years of this landmark album.
"

Something About Livingis an album of live recordings by experimental jazz composer/multi-instrumentalist Robert Stillman. The music was captured over the course of Stillman's time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour's North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman's ever-transforming live set.

Something About Livingis the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman's work on projects like his multi-media installationUnseen Forcesand his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.

"At the time The Smile asked whether I'd like to open for them on their first tour, I felt like I'd already been preparing without really knowing it," says Stillman. "I'd been doing this music constantly, but always for a hypothetical audience" During the pandemic, Stillman's solo set-up served as the research lab where he worked on all the concepts he was interested in: solo improvisation, creating and manipulating cassettes, FM synthesis, analogue delays chains, no-input mixing, and non-metric rhythmic pulses. So when he was offered the first Smile tour, the idea was to bring "the lab" onto the stage.

What Stillman could not have prepared for was the experience of playing in venues with capacities of up to ten thousand listeners. "The first tour was in summer 2022, so not that long after the worst of the pandemic, when I had pretty much made peace with the idea that I might never be able to perform for an audience again. Then all of a sudden I found myself in front of huge numbers of people, and felt the massive responsibility of being with an audience, of this thing I'd done alone for so longactually being witnessed, and it was completely overwhelming!" On the flip-side, Stillman also recalls, was a new appreciation of how powerful the live performance was as a social phenomenon. "It's a cliche, but also true: the moment of making and hearing music in a shared time and space has a very specific meaning and power; there was a sense that everyone in the venue was necessary to make it real, regardless of what they were doing, or how they felt about it. There was an inevitability about it that I'd never fully appreciated."

Over the course of the tours that followed, Stillman transformed this appreciation of the shared moment into an ethic of spontaneity that guided the development of his live set. "An important reference for this set has always been an Animal Collective show I saw when I first moved to New York, probably in 2001 or so, that has always set the high-water mark for what I wanted to do live- they were improvising a lot, and out of what would seem to be absolute chaos they'd find their way to something structured, and then back out again into the unknown. It was so thrilling to witness".

ThoughSomething About Livingcompiles recordings from different dates along the tour, Stillman has edited and mixed them into a work that seeks to reflect the ebb and flow between 'chaos and control' that characterizes his live set. Among the compositions featured are some from previous album releases ("Time of Waves", "What I Owe", "What Does it Mean to Be American") as well as some new compositions ("The Dream of Waking", "Renaissance 2.0," and the title track, "Something About Living").

The album/track title "Something About Living" is a reference to a line from Stillman's favorite film,My Dinner With André: "André Gregory is explaining the value of life experiences that, as he says, are'to do with living'.That really struck me, the way he articulated it. I strongly believe live music situations can ask these kinds of questions, for performers and audiences. I hope that's reflected in this music."

[a] 01: Time of Waves (Live in Miami FL) [Live]
[b] 02: What Does It Mean to Be American (Live in Forest Hills NY) [Live]
[c] 03: The Dream of Waking (Live in St Augustine FL) [Live]
[d] 04: Something About Living (Live in Richmond VA) [Live]
[e] 05: What I Owe (Live in Chesterfield MO) [Live]
[f] 06: Renaissance 2.0 (Live in Chesterfield MO) [Live]

Razorlight were at the forefront of the indie-rock resurgence of the early 2000s, their biggest moments - ‘Golden Touch’, ‘Somewhere Else’, ‘In The Morning’, ‘America’ and ‘Wire To Wire’ - driving three Top 5 albums, nine Platinum album certifications, an NME Award, and live highlights including headlining the Reading Festival and performing at Live 8. After reuniting for live shows in 2021, the classic line-up - Johnny Borrell (vocals/guitar), Björn Ågren (guitar), Carl Dalemo (bass) and Andy Burrows (drums) - will release the new album ‘Planet Nowhere’ on October 25th, their first together since 2008. Razorlight preview the set by sharing its first single, ‘Scared Of Nothing’. Since reuniting, Razorlight have sold-out a headline tour which included a London show at the Eventim Apollo, and played shows as guests to Muse, Kaiser Chiefs and James. But as the ever ambitious Johnny challenged himself, “Who wants to be a greatest hits band?” So he hatched a plan, and late in 2023 booked a five-day session with the legendary producer Youth (The Verve, James) at his Space Mountain studio in Spain. Youth knew what they had to achieve, telling the band, “Razorlight’s quite simple isn’t it? Just a driving bassline, driving drums and a story.” For whatever reason, things weren’t that simple. After four days they had a stack of ideas, but nothing really worth pursuing. And then, as Johnny recalls, something remarkable emerged from out of nowhere. “I’d been down in the barranca, and came back up to find the studio empty. So I picked up this weird six-string bass/guitar hybrid I'd never seen before and wrote this thing. On our last night, I started playing it with the guys. The drums came in hard, the bass pounded. It sounded like shit. Absolute shit. But Youth was there, saying 'Can, Velvets, see where it takes you’ and 'Why don’t you try it like that?' But still, the track just wouldn't budge, locked in its own inertia. Youth says, 'You're getting there, just one more' and almost instantly the song came out, from nothing to something, like a statue coming up out of marble.” That song was ‘Scared of Nothing’ and listening back to the finished track, it’s easy to see why it resparked Razorlight’s mojo. Exuding taut, spiky post-punk energy in a way that’s instantly infectious - the very traits that attracted highfalutin praise from NME back when they started out (“More tunes than Franz, more spirit than The Strokes, and more balls than nearly every band out there”). And as ever, Johnny demonstrates the swaggering, high-intensity charisma that took him from being a figurehead of the Camden scene to rise to become a Vogue cover star. It was also the track which unlocked Razorlight’s creativity, leading the band to return to Spain with Youth for a second session earlier this year, during which they crafted an extensive catalogue of songs for the upcoming album. Other titles vying for inclusion include ‘Zombie Love’, ‘U Can Call Me’, ‘Dirty Luck’ and ‘Cool People’. Since returning, Razorlight have also looked back on their initial achievements, first releasing ‘Razorwhat? The Best of Razorlight’ (complete with the new song ‘You Are Entering The Human Heart’) and then last month issuing the 20th Anniversary Deluxe Edition of their breakthrough debut album ‘Up All Night’. Never a dull moment. Writing a new ending for themselves, Razorlight are back to cast out the boring in your life.

"The Night The Zombies Came is Pixies’ tenth album, if you count their classic 1987 4AD mini LP Come On Pilgrim, and first new music since 2022’s acclaimed Doggerel LP. 13 new songs that find Pixies looking ahead to the most cinematic record of their career. Songwriter, vocalist and guitarist Black Francis explains: “Fragments that are related and juxtaposed with other fragments in other songs. And in a collection of songs in a so-called LP, you end up making a kind of movie.” Druidism, apocalyptic shopping malls, mediaeval themed restaurants, 12th century poetic form, surf rock, gargoyles, bog people, and the distinctive dry drum sound of 1970s era Fleetwood Mac are just some of the disparate wonders that inform the new songs. For the new album recording sessions the band returned to work with producer Tom Dalgety, who drummer David Lovering refers to as “a fifth Pixie” after producing 2016’s Head Carrier, 2019’s Beneath the Eyrie and 2022’s Doggerel. Early on in the recording process at Guilford Sound studio in Vermont, the band noticed the new songs were dividing into two camps: what they came to call the “Dust Bowl Songs” - country-tinged, ballad-esque numbers such as ‘Primrose’ and ‘Mercy Me’, and on the other side, the album’s furious punk numbers such as ‘You’re So Impatient’ and ‘Oyster Beds’. Only ‘Jane (The Night the Zombies Came)’ keeps its feet in both camps — reminiscent of early 60s Phil Spector, the band hitting the sweet spot between mushy and abrasive, it’s a track that Black Francis allegedly likened to being chased by a swarm of bees.
The Night The Zombies Came sessions also saw Pixies welcoming new bass player Emma Richardson (Band Of Skulls) to the line up; the first British band member to join the group. There’s also an expanded role for guitarist Joey Santiago. After contributing his first-ever Pixies lyrics on Doggerel, for the new record Santiago wrote the words to ‘Hypnotised’ by completing a complex lyrical riddle of sorts, known as a sestina.
The Night The Zombies Came is released via BMG on CD, black vinyl"

"ABBA release “The Singles – The First Fifty Years”, a 38-track compilation album expanded from “The Singles – The First Ten Years” originally released in 1982.
The album features ABBA’s top tracks plus additional songs not available on other compilations, including singles from the band’s latest studio album “Voyage”.
2CD format is packaged as a hardcover media book with a 28-page illustrated booklet including liner notes and unseen band images."

Bassline veteran and all-round soundsystem sorcerer Marcel Deptford lands on Sneaker Social Club with two ruff-n'-tuff rave-n'-b re-flips that run as a prelude to big things to come.

This is the first time you will have heard a record under the name Marcel Deptford, but he's got serious skin in the game with an imposing history in the legendary bassline scene from the late-00s. His records as DS1 are the stuff of legend for anyone keyed into the Niche-centric sound, but more recently he's put out some serious heat as Haider running his own Breaker Breaker label and popping up on Aus and the like.

If you're a fan of millennial RnB there's every chance you'll recognise the vocals that breathe life into Deptford's two tracks for this Sneaker release. Moving beyond simple edit territory, the voices are bedded deep down into gritty rave productions that boast the kind of dirt bag sonics that call straight back to the OG days of breakbeat hardcore. 'Rock The Boat' has bloated bass pushing into the red, clattering breaks chopped up with a rugged swagger and a dreamy, haunted dose of dub poured all over the vocals.

'Make It Hot' has a lighter, swung feel which nods to garage, but there's still plenty of weight on the low end. Once the lead vocal sample steps back to open up the space, Deptford's knack for strong melodic hooks comes through in a blown out arp line which the bassline dutifully follows.

Hitting every sweet spot from the low-down dirty rave receptors via moody head-nodding restraint on to iconic vocals, Marcel Deptford shows exactly what he's capable on this release ahead of a more extensive dive into his legacy, due further down the line.

limited edition 2xlp of 3138 copies on opaque white 180 gram vinyl LP1 original album remastered by Bob Weston LP2 full album remixed from original multi-track almasters liner notes by Steve Albini and Ethan Buckler gatefold jacket with full color inner sleeves hand numbered 1 through 3138 SLINT is a band from Louisville, Kentucky. tweez was its first recording. LP1: Originally recorded by Steve Albini and released in 1989, tweez has been remastered by Bob Weston at Chicago Mastering Studio from the original analog master tapes. LP2: tweethan mix. Per Ethan Buckler (Slint bassist on tweez), "Finally - after thirty-five long years - the other guys in Slint decided to be nice to me and let me have my Tweez remix. I complained incessantly back in the day about how the Albini production style ruined our first recording." In 2023, Ethan took the original multi-track recordings to a local studio in Louisville. Upon handing the engineer a copy of a pre-tweez Slint practice tape, he said "Make it sound like this." LP2 of this "tweez (35th anniversary edition)" is the result. Mastered by Bob Weston at Chicago Mastering Studio.

Population Four signaled the first major change in the lineup of Cranes with the departure of bassist Cope. Jim Shaw stepped from behind the drums to take over lead guitar duties in full, Francombe switched to bass, while new member Manu Ros settled behind the drum kit. The band is ultimately the most conventional it’s ever been on Population Four. In this album Cranes continue a change strongly evident in Loved from the stark and enigmatic vocals of Alison Shaw and their more synthesized sounds to acoustic guitars and standard drums.

Available on vinyl for the first time as a limited pressing of 1500 individually numbered copies on blue & white swirled vinyl. The package includes an insert.

The four-track EP Reinos Elementales opens with El Descenso de Inanna, an electrifying track characterized by dark atmospheres and a compelling rhythm that transports the listener on a journey as energetic as it is introspective.

Uroboros, the second track on the EP but the first to be composed, was born from the artists first jam session. A rhythmic journey characterized by the cyclical alternation of dub sounds and organic elements, conveying a warm and vibrant sensation thats hard to resist.

Malachite is another gem for the dance floor, where the elements
intertwine fluidly between an urgent rhythm and a liberating atmosphere.

Finally, Stato Liminare is the last track composed by the duo a perfect
B2 that adds a touch of surprise to the EP with its fractured and deep
rhythm. The composers recite a mantra in their native language, creating a magical and hypnotic vocal line that offers a sense of suspension between the tangible and the ethereal.

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

Elias Rønnenfelt is a musician and poet best known as the lead singer and lyricist of Iceage. Heavy Glory is his debut solo album. Out October 25th via Escho. Heavy Glory was recorded in Copenhagen in chapters and moments over the course of a year. Collaborators include Iceage's Dan Kjær Nielsen, Danish punk godfather Peter Peter, and singers Joanne Robertson (Elias and Joanne have collaborated before, on a number of recent Dean Blunt releases) and Fauzia. "I've done this so many times," Rønnenfelt explains, speaking of the process of crafting a long player, "but capturing and crystallising an album remains a singular ritual, just with different circumstances. We are capturing something that is hard to hold down." Heavy Glory is a record that examines all the things that lovers do, from the most desperate to the most pure. The lover haunts the record, reappearing and provoking Rønnenfelt, pulling him in and pushing him away. Songs like "Close" describe the line between jealousy and protectiveness. "Unarmed" is a song of surrender. "River of Madeleine" harnesses toughness in the name of preservation, staying up all night to protect his lover's dreams. "Stalker" is an epic third-person story song in the tradition of the murder ballad. The record closes with two covers. The first, Spacemen 3's "Sound of Confusion," is a mission statement of the life Rønnenfelt has found and inherited in music. "Here it comes," the song famously promises, and flares out into noise. It is a joyful noise, because this life, in all its grit, is the life he chose. The second, Townes Van Zandt's "No Place to Fall," is a sweet plea, Rønnenfelt's final invitation to join him on his journey. This journey - this story, this record - will repeat and continue. It never stops. Rønnenfelt's life as an artist results in a sound that wobbles and rocks but never loses its centre, both fragile and tough, and always moving forward. It is dreamy yet bombastic, held together by the passion of certainty. Co-produced by Rønnenfelt and Nis Bysted.

First time vinyl reissue of Univers Zero's legendary Crawling Wind, originally released in 1981 on the Japanese 'Chaos International Series' label, with the original cover artwork has been beautifully redesigned by Thierry Moreau.

Toujours Plus à l'Est, as the title suggests, is heavily influenced by the traditional music of Eastern Europe, particularly Bulgaria., and paying tribute to the iconic catchphrase of Professor Calculus (Tournesol), the character from the Belgian comic series Tintin. Before The Heat, played live a few times, is an ambient composition by Andy Kirk, who is part of the EP's lineup alongside Daniel Denis, Guy Segers, Alan Ward, and Dirk Descheemaeker. Central Belgium in the Dark is a live improvisation from a period when Univers Zéro dedicated part of their concerts to complete improvisation. What makes this recording unique is that one of Andy Kirk's effects pedals picked up and emitted the sound of a mysterious radio signal, seemingly coming from "nowhere," especially noticeable at the end of the piece. The title of this improv is a nod to contemporary composer Charles Ives' work Central Park in the Dark. Central Belgium refers to the concert venue where the piece was recorded (Haine-St-Pierre).

Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music - most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.

The Post-Punk Synth Alchemists return with new album ‘Strange Loops’. With blistering rhythms and searing bass, AK/DK return with their highly anticipated fourth album, ‘Strange Loops’. It builds on the momentum of their previous release; Shared Particles, which sold out of the Dinked edition even before its release and achieved no. 7 in the Indie Record Store charts. Known for their trademark motorik energy and riotous joy, AK/DK are back, and for the first time, they’ve introduced guest vocalists into the fray. This new release sees the drum and synth duo collaborate with three exciting artists: the musician TVAM, punk poet - Thick Richard, and I Am Fya; sound artist. The angular guitars and spaced-out vocals of TVAM intertwine with the duo’s driving beats and convulsing synths, resulting in the pulsating Devo-esque powerhouse of ‘Square Route’. The two bands have been crossing paths on festival line ups for a while now and it seemed inevitable that they should join forces. I Am Fya’s usual experimental textures and sound-collage is temporarily put to one side on ‘Pull Up’. For this deep and heavy sub-rattling cut; I Am Fya and AK/DK lean heavily into sound system bass and dancehall style. Her febrile and powerful vocals interweave with tectonic sub bass and stuttering rhythms, sounding like Missy Elliot jamming with a modular synth. Manchester’s very own Thick Richard adds his lyrical, jet-black humour to the track ‘Nobody Shouts’. Their collaboration began when the band invited the punk poet up for an impromptu improvisation during their set at Beatherder festival 2020. It went down so well that they had to record it; learning the track from fan footage online. This is nothing new for AK/DK, creating powerful improvised moments for those lucky enough to be in the audience. Strange Loops presents two distinct halves of music. The A side offers sure-fire bangers that will linger in your ears and have you pounding the dance floor, while the B side delves into more experimental and ambient territories with completely live takes from the studio, reflecting the duo’s love of ‘70s German Kosmische bands. “We always had more ambient experimental tracks on our records, and wanted to give them a spotlight on this release” says the band’s Gee Sowerby. Their previous releases have earned accolades such as BBC 6 Music’s ‘Album Of The Day’ and impressed judges on Steve Lamacq’s Roundtable, solidifying their reputation as pioneers in their genre. It’s on stage where AK/DK truly come to life. Their electrifying performances, characterised by joyous live-looping of keyboards, drums, and distorted whoops, have made them a fervent fan favourite for over a decade. They’ve left an indelible mark on audiences at festivals like End Of The Road, Blue Dot, and Green Man, winning over new audiences wherever they play. With Strange Loops, AK/DK continue to push boundaries and defy expectations, reinforcing their status as one of the most dynamic and innovative acts in the scene

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Limited metallic silver/white "disco ball" splatter vinyl available while supplies last.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

"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"

Red Vinyl. Listening to Fashion Club's self-produced second album A Love You Cannot Shake feels like being caught in the crossfire of a profound beam of light. You can't help but feel both enlivened and exposed as its aberrant synth lines, artful strings and disfigured guitars swell into larger-than-life crescendos, which evoke a divine yet probing spotlight. Pascal Stevenson, the Los Angeles-based musician behind Fashion Club, likens the experience of hearing A Love You Cannot Shake to staring into the sun, and though the record wasn't written with religion in mind, its heavenly sonics and emotional sagacity also make it feel like a prophetic encounter. The album was shaped by Stevenson's gender transition and sobriety journey and parses her fluid emotions surrounding these events and other personal trials and tribulations. But as much as it's a dialogue between Stevenson's current and former selves, it's also an invitation for listeners to join her in the work of discarding bitterness and re-centering hope, especially when such efforts feel futile. Musically, A Love You Cannot Shake is an unshackling of expectations, as Stevenson's previous stint as bassist in the L.A. post-punk outfit Moaning and her first record as Fashion Club, 2022's Scrutiny, didn't necessarily reflect the full range of her taste, which includes ambient, pop, classical and dance music, or embody her sensitive tenderness and femininity. A Love You Cannot Shake also thrives on a fluid sonic palette. The album's magnetic immersiveness hinges on its strange dynamic shifts, jagged production and ambitious song structures with parts that don't repeat_choices influenced by her love of left-field electro-pop and her classical music background. While Stevenson handled most of the instrumentals on Scrutiny, this LP is much more collaborative, featuring an array of contributors who lent strings, piano, pedal steel and more. Plus, this album boasts country harmonies from Perfume Genius ("Forget"), high-pitched coos from Jay Som ("Ghost") and gauzy whispers from Julie Byrne ("Rotten Mind"). Stevenson's vocal evolution is also on display with this record, embracing a softer delivery that's more reflective of her personality and identity.

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

"“Tenalach - The relationship with the land, the sky, the water and the deep connection that allows you to hear the earth sing and be one with nature”

Following on from their many mutual remixes and first collaborative EP “Pleamar” (Wonderwheel Recordings 2020) Chancha Via Circuito y El Búho return with a new EP “Tenalach"" which sees the duo enter new territories and soundscapes. This mysterious, atmospheric and melancholic EP is like the soundtrack to a videogame that takes place in a strange and wonderful parallel universe.

Imagine Zelda set in the jungles and mountains of Latin America.

Croaking frogs sit next to driving snares on the genre-defying Sapo Cururú, birds float above strobing synths on Oropéndola while Sumay’s epic synth lines melt into Chancha’s trademark percussions on Sumay. Opener El Samurai is perhaps the closest to the pair’s well-known folktronic sound, marrying cowbells with bowing violins and its animal-esque synth line.

While the BPM may have risen, this is neither ‘downtempo’ nor ‘umtempo’ and an EP that cannot easily be pigeon-holed - it is fresh and original. It also reflects a darker side to the pair’s music, a sub-conscious reflection of a changing world, holding in each song a constant tension and the desire to escape to new realities where the connection between humans and nature is blurred and equal."

"?Released in the spring of 1989, Gang Starr’s debut album, No More Mr. Nice Guy, arrived right at the crucial intersection of the old school and golden age of New York rap. You cannot begin to discuss New York rap lineage without drawing a line through the first decade of Gang Starr. Should history be corrected to appropriately acknowledge Gang Starr’s influence and brilliance, it will need an origin story. No More Mr. Nice Guy is that saga. It’s a hard ridge in a changing landscape, the sound of everything shifting, the kernel of greatness germinating. It is Guru and Preemo. Preemo and Guru. An essential title not just for what it would lead to, but because of what it is."

Unlike most of Grant Green's many trio albums, Green Street, which was his second LP as a leader following Grant's First Stand, didn't make use of the organ or the piano, consisting instead of guitar-bass-drums format. Backed by such subtle players as Ben Tucker and Dave Bailey, Green could showcase his talents with no inhibition, making this one of the most remarkable works of his whole career. 180-GRAM COLORED BLUE VINYL - THE COMPLETE LP + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE. LIMITED EDITION







[f] Alone Together [Alt. Take]

"RATT released their last full-length record of the Atlantic era, Detonator, in 1990. Music was changing, but ‘Detonator’ was still a success, peaking at #23 on the Billboard Top 200 and going GOLD. The first album to feature major outside songwriting contributions (Desmond Child, Diane Warren) and guests (Jon Bon Jovi, Michael Schenker). Lead single “Lovin’ You’s A Dirty Job” hit #18 on the Rock Charts while the power ballad “Giving Yourself Away” reached #39.
The album features the classic line up of Stephen Pearcy (vocals), Warren DeMartini (guitars), Robbin Crosby (guitars), Juan Croucier (bass/vocals), and Bobby Blotzer (drums), and is now available on CD and Limited Edition red vinyl."

"New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 198 Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, but it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling at the Speed of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. Don't miss out on the opportunity to catch them live as they are touring the globe again. Critical Beatdown (Expanded Edition) is available as a limited edition of 2000 individually numbered copies on green coloured vinyl. It also contains a 4-page booklet with interviews, rare photos and liner notes. "

Critical Beatdown by Ultramagnetic Mc's, released 23 February 2024, includes the following tracks: "Ego Trippin (Original 12” Version)", "Kool Keith Housing Things", "Feelin’ It", "Ain’t it Good to You" and more.

This version of Critical Beatdown comes as a 2xLP. This release comes with (a) Booklet & Insert(s).

The vinyl is pressed as a green disc. Another vinyl is pressed as a

San Francisco native Eric Luttrell announces his highly anticipated studio album ‘Life at Full Speed’, released on October 11 on Anjunadeep. First breaking into electronic music as part of the OWSLA-affiliated trio The M Machine, Eric embarked on his solo journey in 2016 with the acclaimed 'Need You' EP. This was followed by Anjunadeep favourites such as the 'Generate' EP and 'Intergalactic Plastic', championed by Annie Mac as the Hottest Record In The World. His musical progression continued with the launch of two studio albums, 'Intro Clouds' and 'Lucky Ones', as well as the captivating trilogy EP series 'Music For My Memories'. Luttrell's body of work has amassed over 100 million streams to date. Written over the past two years, ‘Life at Full Speed’ represents a new chapter for Eric. Becoming a father last year profoundly shifted his perspective on life and its purpose; and the album represents the ethos of embracing life to its fullest and seizing every moment. Featuring thirteen meticulously crafted tracks, "Life at Full Speed" embodies Luttrell's signature blend of indie-laced house music, characterised by uplifting melodies, intricately woven synths, and infectious grooves. A standout feature of the album is Eric’s integration of his own vocals on some of the tracks such as “When I First Met You” and “Go”. Additionally, Canadian artist Molly Moonwater joins forces with Eric on the single 'Something Right', enhancing its euphoric tone. Lead single ‘Make U Happy’ comprises a playful piano, signature Luttrell synths and a catchy top line culminating in an irresistible, feel-good summer anthem. This track sets the tone for the album, offering a glimpse into its uplifting vibe. Among the album's tracks are previously released singles ‘Sunshine’, ‘Space’, and ‘Sunrise Song’, which have collectively amassed over 3.5 million streams and received acclaim from BBC Radio 1 and SiriusXM Chill.

Forgive Yourself. Learn to live with yourself. Don't hurt yourself. This is the mantra of the new album Venus Smiles Not in the House of Tears from Samora Pinderhughes. Made over 8 years with loving detail by Pinderhughes and his longtime producer Jack DeBoe, it is a deeply personal exploration & reflection of mental health in the modern age. It tells a non-linear story about a relationship that didn't last, and the lessons learned through it. How can love exist when grief is in the way? Musically it's intentionally tough to pin down. Although Pinderhughes is Juilliard-trained, Venus is an open-genre exploration of musicmaking with wide-ranging production and a cinematic landscape of feeling and spirit. From quiet, contemplative piano pieces to hard-hitting and soulful full band jams, to expansive and fullthroated choir celebrations, Venus is a fitting accompaniment to a multitude of daily human experiences. It also features artists from Pinderhughes's tight-knit NYC community, representing a wave of new artists who thread the ethics of honesty & vulnerability into their work. Says Pinderhughes of the album, "Mental health isn't solitary; it's about how our feelings, fears, traumas, and conceptions of self meet the world around us. Like so many, I've struggled with depression, anxiety, and isolation within a complicated matrix of identities. I wanted to make a project that would be brutally and lovingly honest about what it feels like to try to sift through the debris of time. A project that really engages with what it means to love, in the midst of a society that teaches us all the wrong lessons. Our modern world wants us to get over things quickly and easily. That's where shame enters the picture, because when you struggle with deep cyclical feelings, the process of engaging with these elements in your life is never linear. It is always two steps forward, one step back. Kindness and honesty are required in equal measure in this life. Hopefully through the prism of these songs, you can feel something that resonates with you in your own life and experience." Pinderhughes is known for striking intimacy and carefully crafted, radically honest lyrics alongside high-level musicianship, and for using his music to examine sociopolitical issues and fight for change. His work delves into the things our society tries to hide - its history, its structures, and the things we all experience but don't know how to talk about. It is an invitation to feel and think deeply about how we live and a commitment to making art that is useful for everyday life. The New York Times described Pinderhughes' 2022 album GRIEF as a "visionary" work from "one of the most affecting singer-songwriters today, in any genre." Pinderhughes - a collaborator across boundaries with artists including Herbie Hancock, Glenn Ligon, Sara Bareilles, Common, Robert Glasper - is the creator and director of The Healing Project, a project that examines trauma & healing from incarceration, detention, and structural violence. Pinderhughes was the first-ever Art for Justice + Soros Justice Fellow and a recipient of Chamber Music America's 2020 Visionary Award. He is also a United States Artist Fellow, Creative Capital awardee, and Sundance Composers Lab fellow.

“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages.

The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance,
Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

It's been nearly a decade since Montreal's PYPY (pronounced like 'π π'...with a long 'i' rather than long 'e', thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger "She's Gone" carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent's 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial "next level."

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes' (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement's (Duchess Says) brings a nastier bottom end that locks onto Simon Besré's drumming with a death grip for the entire affair. And guitarist/co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that's like hornets caught in yr hair.

"Lonely Striped Sock" grooves along like "Earthbeat"-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the "ear-vestment" in dividends throughout. "Ear-vestment"? Yikes. Then it's time for "She's Back," a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day's best-known gem (the aforementioned "She's Gone"). This one packs a hook that'll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn't matter...nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you'll be doing that anyway. A lot. "Erase" is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn't know we had...deceptively kicking off with a no-fi drum machine that is immediately lost in the massive pop din that seemingly includes everything within reach. "Poodle Escape" is two minutes of perfect (and perfectly distorted) synth-punk and "I Am A Simulation" – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70's (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. "15 Sec" (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes' gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album's title track is a love letter to Hawkwind in the musical language already established here. "Vanishing Blinds" is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of "Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others.

From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio.

His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities.

Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class.

Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

Released to celebrate Albert King’s Centennial, his 1999 live album In Session, with Stevie Ray Vaughan is now available in it’s entirely for the first time on LP, CD and Digital. Recorded live for television at CHCH-TV studios in Ontario, Canada in 1983, this is the only known recording of Vaughan and King playing together. Also featured in the line-up are Tony Llorens (piano/organ), Gus Thornton (bass), and Michael Llorens (drums). This deluxe edition has been newly mastered by Joe Tarantino.

Quinnisa Kinsella-Mulkerin recorded her first song at five years old with her parents, who comprise the adventurous Maine band, Big Blood. Ever since the age of five, she was writing songs, banging on chimes, strumming guitars, and clanging together whatever else she could find. Improvisation was natural, and she stuck to the approach. Quinn brings this innate sense of songwriting to The Wickies, a duo she formed with Aiden Arel a year ago at age 16, whose chill approach and fluid delivery belie true inventiveness in the underneath mechanics. Inspired by seventies folk icons like Stevie Nicks, Krautrock bands like Can, and modern indie-rockers like Alex G, The Wickies feel like an amalgamation of these decade-spanning sounds, but uniquely their own. Quinn’s voice croons like a seventies folk star, but it possesses a great and controlled tone. Her vocals feel like another instrument within the mix, building and growing each song to its fullest sound, leaving no detail within the mix unheard. Their use of echoing guitar lines recalls sixties psych, a springboard for their unique take. Quinn’s lush, free-flowing lyrics, created on the spot, complement Aiden's fleshed out backing instrumentation and over-dubbing. Quickly, the pair created more material than they ever needed, allowing them to mold their recordings into a self-titled debut album. Like a painter crafting the perfect exhibition of their finest work, Aiden and Quinn condensed their improvisations to all the best parts. Tracks like “Campfire Song” and “Skipping Pond,” exemplify the ethereal and lackadaisical atmosphere of their sound. “I keep finding these weird, obscure bands from the seventies that have one album and nothing else, which is awesome,” Quinn said, “I want my music to sound like somebody found it in a record store that no one has ever heard of and uploaded it to YouTube. I want it to sound a little strange.”

Ardor or Entropy is Nzʉmbe's first album in nine years, following 2015's Titubeo. During this period, philosopher and artist Miguel Prado's sonic output has included synthesizing a sonic Gernika with his band HARRGA alongside Dali de Saint Paul, and crafting a hallucinatory sci-fi mythology for Lucrecia Dalt's latest album, ¡Ay!."
Rewiring the conventions of chamber electronics and postmodern songwriting. Here it is presented A Spanish' song cycle on love and cosmological redshift. The distant echo of Tristan‐and‐Iseult's smoking gun where lovemaking becomes an enactment of entropy, a transformation between the dynamic and the static, the human and the fetish, illustrating the inevitable decline into chaos and stillness.
A beached singing voice (beautifully processed by Rashad Becker) against electro-acoustic backdrops ranging from the caustic, viscous to the bonecrushingly dense worldbuilding shared by HR Giger, Ballard and Pynchon. Transcendental and psychotic vistas that boldly examine human fragility and the surrounding abyss of godlessness.
---------------------------------
Artist: Nzʉmbe Title: Ardor or Entropy Label: Drowned By Locals Catalog Number: DBL31LP Year: 2024
Side A:
Mirror Of TauromachyZone Of AlienationGreat Vitreous TactKarman Vortex Street
Side B:
Serpentine LinesThermocline Anake and EntropyErgosferaAsymptopia
Composed, arranged and recorded by Miguel Prado Casanova
Vocal processing by Rashad Becker Piano on "Anake and Entropy" by Michael PisaroPipes on "Mirror Of Tauromachy" and "Ergosfera" by Wojciech RusinAccordion on "Asymptopia" by Alfredo Costa MonteiroTrumpet on "Asymptopia" by Ruth Barberán Electric bass on "Asymptopia" by Dominic LashElectric guitar on "Asymptopia" by Daniel BennettPercussion on "Asymptopia" by Alex Lázaro
Premixed by Miguel Prado Casanova Mixed, Mastered and Vinyl cut by Rashad Becker
Artwork photos by Lúa Ribeira © all rights reserved, 2024Design by Giovanni Murolo
This album is dedicated to Patricia
Special thanks to Patricia Fraga, Dali de Saint Paul, Mattin, Lucrecia Dalt, Laith Demashqieh, Lúa Ribeira, Rashad Becker

*Full colour artwork coming soon, this is a digitally generated mock-up. Comes in a risograph sleeve featuring liner notes and original Saturn artwork. *

Recorded at the Choreographers’ Workshop in New York, 1963, Waaghals Records presents two songs from Sun Ra’s Continuation sessions on vinyl for the first time. Known for its lo-fi recording quality coupled with heavy use of echo and reverberation, the material recorded at the Choreographers’ Workshop holds a special place within the Sun Ra catalogue. This unique blend of avant-garde jazz and bold production methods is described as “low-budget musique concrete” by Sun Ra biographer John F. Szwed.

Taken from the 1970 Saturn album Continuation, side a features the complete unedited version of New Planet. A bouncy Ra track that somehow ends up in a sound-bath of low, throbbing frequencies and echoes. The b side, Meteor Shower, remained unreleased until 2014, making its first official appearance on vinyl here. The opening trumpet salvo warms us up for a micro trip through the vast cosmos, with more echoed percussion and a beautifully bowed bass solo. It is no surprise that in recent years this particular piece has been sampled, most recently by RP BOO and Armand Hammer.

Tape transfers and audio restoration by Michael D. Anderson and Irwin Chusid of the Sun Ra Archive.

In Cornish slang it is said that things get done ‘dreckly’; that is, not now, not necessarily tomorrow, but, at some indefinite point...in the future...soon...

Fitting then that when Bristol’s Langkamer decamped to their de facto home-from-home in the picturesque south-west seaside town of Falmouth to record their third album in as many years (with an EP thrown in there too) - there was no particular need to rush things: “The process was much slower and more considered for Langzamer.”, drummer/vocalist Josh Jarman explains: “The first two albums felt pretty urgent, and each was finished in about 6 months, but this one feels a lot more deliberate. It’s taken us two years to get this done.”

Equally fitting too that Langzamer kicks off proceedings with ‘Heart of Tin’: the first bars are languidly lugubrious, so deliciously plucked-out and scuzzed-up that they linger in the air like passing smoke, magically, slowing time down to their own assured and steady will. And in so much time, that also feels like no time at all, comes an opening line of such stark, disarming confessionalism as might be found in the David Berman/Silver Jews songbook: “Do you want the good news or the bad news first? // They’re both bad news, but the bad is worse” It’s Langkamer in a nutshell: embattled, heart-on-sleeve Slacker Rock slaked with twinges of fret-sliding Americana, yet deeply embedded in the folk mythologies, colloquialisms and experiences of the band’s West Country roots.

Throughout Langzamer, confronting the listener again and again is this conflict between the band’s breezy, melodic charm, and the threat of something more sinister lurking in the undergrowth. While those more familiar with Langkamer’s oeuvre to date will have already come to know and love their often self-deprecating yet witty lyricism, the songs on Langzamer take this trademark ebullient gloominess to more challenging plains: “Principally this is an album about grief, and everything that entails...” explains Jarman. “in a sense death brought these songs to life.”

This thread is felt no more so than on ‘Salvation XL’. Inspired by a “particularly bad batch of food poisoning I had in Morocco”, Jarman explains, and beginning with the memorable opening line, “Jesus came to me a Burger King in Marrakech”, the band wind their way through the ‘big topics’: death and God.

“This trip was shortly after a few of my friends had passed away, and I think a lot of my thoughts and actions at that time were being influenced by my grief without me realising it.”, he explains, “Whenever I dwell on grief, and how death has given my life a new context, I come back to that. The ongoing battle between agnosticism and atheism. I wasn’t raised in a very strict religious home, but I come from a long line of methodists, and it’s interesting to think about the way theism and religion have shaped my life without me knowing it. I think that’s being channelled on this album a lot. The uncertainty that comes with disbelief.”

Our collective mortal frailties are also felt on lead single ‘Richard E Grant’. With a trademark bittersweetness, a track that begins as an appreciation of the actor’s humorous social media presence unfolds as a study on “finding healthy coping strategies to deal with loss.”. Elsewhere, ‘At The Lake’ - to the tune of mournful, folk-like balladry - explores binge-drinking culture and the troubled association between unhealthy behaviour and creativity. The listener is left in no mind as to the meaning behind the references to James Joyce and Janis Jopin as “souvenirs stolen from the dark”.

With themes as weighty as these strewn across the album’s 10 tracks, It seemed like a particularly astute move then for the band to personally approach Ben Woods, founder of the Golden Dregs, to assist on production duties. Not only would the delicate intimacies of Woods’ main project - see 2023’s On Grace & Dignity for reference - add an appropriate moodiness, but Woods was also born and raised in Cornwall, where the album was recorded; amidst “eating pasties” and breaks by the sea, Woods and the band transformed the vaults underneath iconic Falmouth venue The Cornish Bank into a makeshift studio for a weeks’ worth of recording. Occasionally friends would drop by to lighten the load; Zander Sharp tracking violin on ’Double Island’ and ‘Flight’; Josh Law and Ben Sadler of Breakfast Records labelmates Getdown Services, both of whom contribute to the soul-stirring ‘mountain’ chorus on ‘Aberfan’.

When compared to the brightness of 2023’s The Noon and Midnight Manual, Woods’ influence on the record seems indisputable. On the aforementioned ‘At The Lake’, for instance, which features backing vocals from Woods. Or, most acutely, on the piano strains of harrowing closer ‘Bluff’, a track with such chilling, spectral severity as to effect the band’s most heartbreaking effort to date. While it’s particularly sombre note on which end proceedings, it's also an appropriate one: Langzamer bravely stands tall as their most restrained, matured, and sincere collection to date. And almost by virtue of its impeccable honesty, those moments of sunshine-joy that creep through the cracks feel that much more golden.

The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).French Popular Music, ndlt

As with L’Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a “people’s jazz workshop”. In 1981, at the famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu “Le Musichien”, an Afro-Catalan tale over an exceptional bass line from Jean-Jacques Avenel backed by percussion from Kilikus, saxophones from Sylvain Kassap and Yebga Likoba and trombone from Ramadolf which presented a myriad of constellations. The sky has no limits, let’s make the most of it.

“Les Amis d’Afrique” is recorded the following year, at the ‘Tombées de la Nuit’ festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive “brotherhood of breath”: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on... bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.

*RED VINYL*Of the plethora of touted "private press hard rock monsters'' out there, very few live up to the swaggering riff-fury of west coast blasters ODA. Commonly known as the "Black Album," the first clobbering platter by the quartet was released on their own tiny Loud Phonograph Records imprint and now commands large sums—but is actually worth the heavy hype. The band naturally centered around Randy Oda, a multi-talented ax shredder and keyboardist, and the lineup was filled out by his brother Kevin on drum assault, Art Pantoja on lead bellows and rhythm guitar, and galloping bassist Kyle Schneider. The Oda brothers were born in Alameda County, California, attending Kennedy High School in Richmond, and started the band while still teenagers at the beginning of the '70s. ODA was influenced by hard UK rockers like Deep Purple, Zep, Free, and the Who, and they gigged all over the Bay Area, with Randy garnering comparisons to Jeff Beck's molten six-string mastery. This 1971 self-titled LP (aka the Black Album) fully displays their blistering talents, but despite some local airplay on KSAN radio, the band packed it in by '73. This would not be the end of the Oda story, as Randy joined CCR's Tom Fogerty in the outfit Ruby afterwards, laying down his licks on two LPs that flirted with the mainstream, while staying true to his highly electric guitar muse. In 1983, ODA actually reformed for one more LP on Loud Phonograph, entitled Power Of Love. The comeback album delves a little deeper into radio friendly power pop, which makes sense, as in '82 Oda co-wrote "Think I'm In Love" with Eddie Money (which, let's face it, is Money's best song by like a mile). Randy would also collaborate with Fogerty as a duo, and the posthumous Sidekicks album (released after Fogerty passed) listed the clearly-integral Randy Oda as "arranger, composer, guitar (acoustic), guitar (electric), keyboards, primary artist, and producer.” In the 2000s, Randy would start another band with his brother called OPO which means "to lay a foundation" in Hawaiian, and ODA would reform to play a benefit in 2015 along with other obscure and heady/heavy Bay Area rockers like Savage Resurrection and Country Weather (some live footage of the event shows the band still rocking hard). At last, Riding Easy is legitimately reissuing ODA's first smoking, gargantuan LP with bonus tracks, so crank this one up in the '70s Camaro with the windows open, and some dirt weed joints a-blazin'. #

SWIMS returns with their third release since last summer’s romance with London’s Kit Records which spawned two beautiful albums by Romeo Poirier and Electric Capablanca.

Leaving behind the soothing natural landscapes of the previous releases, Finomehanika is an intricate 42-minute machinist journey combining the frayed melancholia of Vladislav Delay’s recently reissued Multila, with the strangely real-sounding yet otherworldly mechanics of Autechre in their Confield era. However, Finomehanika sounds thoroughly unique. It makes heavy use of the piano and field recordings for depth and ambience. The line between synthesized sound and manipulated recordings blur to a point where one becomes the other. The often subtle use of field recordings prevents us from drifting too far into the abstract, keeping us grounded in a fragmented, confusing but familiar environment.

Finomehanika is Robert’s first solo release in 20 years since 2000’s Albumski on Phthalo. The sleeve was designed by Michael Tan known for his previous work with artists such as Blanck Mass and Dopplereffekt. The album features on piano Robert’s brother Miro, better known for his releases as Qwerty. The brothers also recently collaborated on 2019 album Na Vrućem Krovu by Robert’s art-pop band Marinada.

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

FIRST EVER INTERNATIONAL RELEASE OF RYUICHI SAKAMOTO'S LANDMARK 1983 ALBUM "CODA," HIS RENDITION FOR SOLO PIANO OF THE 'MERRY CHRISTMAS MR. LAWRENCE' SOUNDTRACK. FEATURING REMASTERED AUDIO AND NEW LINER NOTES BY ANDY BETA.



Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Coda", issued in Japan in 1983 as a solo piano version of the "Merry Christmas Mr. Lawrence" soundtrack. The album, which was never been released outside of Japan until now, sees Sakamoto on acoustic piano reinterpreting fascinating versions of his famous soundtrack including the classic theme and "Germination," which was later used in the "Call Me By Your Name" soundtrack. This reissue has been remastered by Seigen Ono's Saidera Mastering studio in Tokyo and boasts the original artwork plus a 4-page insert with new liner notes by Andy Beta.

2000 pressed. First time on vinyl for the gorgeous 'Late December', with a second LP featuring rare recordings from her Live Acoustic LA tour in 2006, the package includes new liner notes and a download of the studio album and live show. An album that's broader than Broadway, a panoramic view of life, love and loss filled with drama and theatricality. Plus a live set that's heart-on-sleeve time, bringing together songs from Lone Justice, plus covers of the traditional country anthem 'The World Is Not My Home', Richard Thompson's 'Has He Got A Friend For Me' and three songs that show the bittersweet beauty of her brother Bryan MacLean's song writing. In total, it's Kurt Weill, Springsteen, it's the million-selling global hit 'A Good Heart' delivered by the songwriter herself in all its Phil Spector-like baroque beauty.

Austin, TX legends, The Sword, welcome in the Twelfth vinyl release in the Live at LEVITATION series. On June 27, 2024, the band announced they would reunite for a one-off concert on November 3 at the 2024 edition of LEVITATION in Austin. In celebration of this reunion, we pulled from the archive and this limited live release showcases the bands appearance at the festival with their 2015 and 2021 performances. These recordings are now immortalized on beautiful limited colored vinyl. "With the band originating in the great city of Austin, a city that's proven to be a nucleus for a wide range of distinct and eclectic musical acts, it only felt natural to be included on the Levitation roster in 2015 and again in 2021, adding our own flavor to its diverse landscape. What an honor it has been to be included at such a cool festival. We've had two memorable sets so far, playing alongside some truly amazing bands. When we began entertaining the thought of returning to the stage after a two year hiatus, playing a reunion set at Levitation became the only appropriate solution, to play in front of the fans in Austin Texas, where it all began. We're very excited! Being asked to be part of the "Live at Levitation" LP series is also a great honor. The tracks we selected from each performance, at Carson Creek Ranch and Empire Garage, captured a special energy and enthusiasm that only Levitation could provide. It truly means a lot to share these memories with everyone and be included in this series!" - The Sword LEVITATION and the LIVE AT LEVITATION Vinyl Series The first Austin Psych Fest was held in March 2008, and expanded to a 3 day event the following year. The event quickly developed into an international destination for psychedelic rock fans, with lineups spanning the fringes of indie rock, from up-and-comers to vintage legends, and capped off with headline performances from co-founders The Black Angels, along with Tame Impala, The Flaming Lips, The Brian Jonestown Massacre, Thee Oh Sees (in various forms) and many more. LEVITATION helped spark a movement, inspiring the creation of similar events across the globe and a burgeoning psych scene that would soon ignite. The series captures key moments in psychedelic rock history, and live music in Austin, Texas, pressed on beautiful limited edition colorful vinyl pressings - each an eye popping visual representation of the music contained within. The artists and sets showcased on Live at LEVITATION have been chosen from over a decade of recordings at the world-renowned event, and document key artists in the scene performing for a crowd of their peers and fans who gather at LEVITATION annually from all over the world.

Best of 1996-2019” , the very first Cassius Best Of.
Cassius , one of the seminal & most exciting French Touch pioneers.
20 track / 2LP Black gatefold sleeve with
Liner notes by Hubert ‘Boombass” Blanc-Francard about the story of Cassius and his beloved mate Philippe” Zdar”Cerboneschi who sadly passed away 5 years ago.
Covering all classics of all albums : from Cassius 1999 – I < 3 U So - Feeling For You – Toop Toop to Go Up & The Sound Of Violence & Don’t Let Me be.
Including some Boombass’sx favourites with some rarities.

This is the very first reissue of the much in demand double sided killer single released in 1970 on the Upsetter label. Both tracks were produced by Lee Perry.

The A side is a beautiful yet wicked cover of LET IT BE by the Beatles, produced by Lee Perry and performed by the Soulettes.
The B side is BIG DOG BLOXIE, an even whackier version of the A side by Lee Perry.

ABOUT THE SOULETTES:
The Soulettes initially comprised Alpharita Anderson, born in Cuba, her male cousin Constantine Walker and her school friend Marlene Gifford and started recording as backing vocalists at Studio One from 1964 including the first Wailing Wailers’ hit “Simmer Down”. They also backed Lee Perry on a series of dirty songs such as ‘Rub & Squeeze’ and ‘Doctor Dick’. Under their own name The Soulettes were moderately successful have a string of minor hits such as ‘Opportunity Knocks’ and the lovely ‘Friends And Lovers’. Alpharita married Marley in in 1966 and the Soulettes disbanded. In 1969, Rita Marley re-formed the Soulettes with Nora Dean (later replaced by Hortense Lewis) and Cecile Campbell, Cornel’s sister.
The new line-up with Nora Dean and Cecile Cornell started working Lee Scratch Perry for a couple of songs including the outstanding cover of the Beatles’ ‘Let It Be’ which became their main hit in 1970. Following the group’s demise around 1973, Rita joined Marcia Griffiths and Judy Mowatt to form the I-Threes whom became the de facto female backing trio for Bob Marley…

Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

"OneDa's story is so clearly mirrored in her music: a sprightly flow preaching a message of empowerment, enveloped in a dark, raucous soundscape…interlacing vibrant, punchy lyrics with that classic drum & bass sound has given OneDa a new lease of life." – DJ MAG

“OneDa is solidifying her position as one of the UK’s most thrilling hip-hop artists. With poignant lyrics and charisma that is off the charts, she dives deep into the complexities of life, love, and liberation.” – DIVA

Manchester rapper and poet OneDa is set to soar with the release of her debut album, 'Formula OneDa', on October 4th via Heavenly Recordings. Featuring the singles 'Major Pay' and 'Set It Off.'

On the ethos behind the album, OneDa says:

“In early 2023, while listening to my mixtape demos, the line ‘had to step away, get the levels up fast, Formula OneDa never come last' from my song ‘Off My Light’ stood out. We decided to name my album 'Formula Oneda'. Coincidentally, I discovered that the F1 Academy had just started, aligning perfectly with my album’s vision. For the first time in over 30 years, Formula 1 has created a platform to inspire and support young girls and women. Previously indifferent to Formula 1, I am now excited by the progress these women are making in the male-dominated racing circuit. While becoming a racing driver was never my goal, the F1 Academy metaphor fits my journey from a backmarker to a leader. This year, I plan to support these inspiring women as they drive with Pussy Power to take pole position in motorsports.”

Having supported Kneecap and Baxter Dury, and with standout performances at The Great Escape, OneDa is establishing herself as one of the UK’s most dynamic hip-hop artists. Her music transcends genres, blending hip-hop, drum and bass, afro-trap, and afrobeats, reflecting her Nigerian heritage and Manchester roots. Known for her dexterous wordplay and poetic verses, OneDa's voice is a unique force in the evolving drum and bass scene. Her boundless linguistic talent and poetic verses set her apart. Named by The Face as a key MC in the drum ‘n’ bass renaissance, OneDa is dedicated to empowering others.
Her live performance credits include headlining with Angélique Kidjo at Aviva Studios' launch in Manchester and leading performances at Manchester Pride 2023. She continues to gain acclaim from BBC Radio 6, DJ Mag, The Face, NTS, Wonderland, UKF, and The Line of Best Fit.

Beyond her music, OneDa is dedicated to community initiatives, leading hip-hop therapy for Manchester youth and championing projects like Herchester, which amplifies marginalized voices in music. Her vision extends beyond chart success; she aims to establish a hip-hop therapy school for all ages, showcasing music's potential for positive change. Her drive and authenticity inspire others to embrace their true selves.

Citing 'empowerment' as her greatest inspiration, OneDa channels her struggle with acceptance of her queerness into her music, promoting a message of self-love and freedom: “When you truly love yourself, that overpowers anyone else’s opinion.” Although she only began producing music two years ago, OneDa’s debut LP showcases her mastery across multiple genres. Collaborations with artists like Sam Binga, Songer, Devilman, and Mr. Scruff highlight her versatility. Her standout verse on Vibe Chemistry’s 'Ballin’', with over 35 million streams, further cemented her reputation. Her first fully produced track, 'Rude Girl Flex', earned her a spot on the BBC 6 Music playlist and an appearance at the BBC 6 Music Festival.

Originally released on KLIK Records, in 1975, Dread Locks Dread became one of the new Front Line label’s first key releases when reissued in 1978.

One of reggae’s best and most recognizable ‘toasters’, Big Youth broke new ground as a DJ in the early ’70s with a flowing, chant-like cadence that was equal parts melodic and invigorating, applying his infectious vocal approach to heavy social and political lyrics.

A huge favourite of the punk and new wave artists at the time of release, Big Youth was embraced by The Clash, via Don Letts, and PiL, amongst others. John Lydon was part of Richard Branson’s A&R envoy to Jamaica, helping sign credible artists to his new Front Line reggae label.

Featuring the legendary Skin, Flesh & Bones band, formed around Lloyd Parks (bass), drummer Sly Dunbar (before he started working with Robbie Shakespeare), Ansel Collins on keyboards, and trombonist Vin Gordon. The album was produced by Tony Robinson and Errol Thompson and mixed at the famous Joe Gibb’s studio.

Dread Locks Dread skanks from punchy, rhythm-heavy reggae to the deepest, dubbiest roots. The hypnotic Some Like It Dread reworks Dennis Brown’s “Some Like It Hot”, where the DJ’s toast is entwined with a bluesy harmonica (the dub version re-titled (Black Man Message). Also features a fiery version of Burning Spear’s “Marcus Garvey” (Marcus Garvey Dread), a tasty take on the John Holt classic “Keep on Moving” – Moving On and a scintillating dub of the Techniques’ rocksteady masterpiece You Don’t Care.

Not your typical DJ album by any means, the music equals the toasts and vice versa – an essential release for a dub fan or a Big Youth supporter.

Re-mastered at Abbey Road Studios, London.

Out of print for over 20 years!

It is summer dawn . . . and you are alone. Here is music for your strange mood. The piano starts the first track, slow tempo beat, a strict beat, a swinging beat. Lillemor—here minor harmonies give the tune a rural, romantic feeling of some place in Spain or France. The tempo changes to medium fast—the flute solos. Light phrasing contrasts beautifully to the earthy, swinging beat of the rhythm section and the repeating piano figures. The trombone adds a new color, a counterpoint of sound and phrasing, backed by the pulsating beat of this wonderful rhythm and the driving piano. Summer dawn . . . This music has more to offer, because it shows the personality of Sahib Shihab at its best. Sahib is a universal musician who reflects musical experiences in jazz since the end of the thirties. He lived through the important periods of modern jazz with his heart and mind wide open toward everything that was good music, regardless of being termed "Mainstream", "Bop", "Cool", "Westcoast", "Eastcoast", "Hard Bop'', et cetera. When you listen closely to his music, you will find traces of all these, but they are immersed in his deep musicianship and his true jazz personality. Sahib Shihab's background reads like the record of a master of advanced studies. Furthermore he played and collaborated with the coolest jazz musician of that period. Above all let's name Budd Johnson, Theolonius Monk, Tadd Dameron, Milt Jackson, Dizzy Gillespie, Illinois Jaquet, Elmer Snowden, Luther Henderson, Larry Noble, Fletcher Henderson, Roy Eldridge. In his early professional years, Sahib was heard mostly on alto sax; later, more often on baritone sax and flute. Today, his name is inseparably connected with these two instruments. The unity of his jazz performances is not alone bound up with the com¬positions and the arrangements of Sahib Shihab, though in their understated simplicity they have a melodic beauty that is seldom found in jazz of today. The rhythmical subtleties add to the overall qualities of being relaxed vehicles for free-blowing, but there is an immediacy that you hear and feel every moment when listening which defies analysis. The playing of the rhythm section helps greatly to promote the sense of flux and contrasting constant renewal that makes listening to this record so invigorating an experience. Well, this is no surprise, with Kenny Clarke as the nucleus of the rhythm group. Kenny 'Klook' Clarke is a major figure and contributor in jazz, one of the founders of modern jazz, and is ranked as one of the all-time great drummers. He influenced a whole generation of musicians with his playing, though living in Paris since the middle of the fifties somewhat dimmed his name to the general American public. Nevertheless, his name alone will assure a connoisseur to expect top class musical experiences. Talking of the rhythm section we have to name Jimmy Woode's bass, which together with Kenny's drumming, is the driving force for the group and the reliable harmonic anchor for the improvisors. By the way, Jimmy has been with the Duke quite a while, and this alone is an award for extraordinary craftsmanship and artistry. The good sounding rhythm with its full-bodied color is also a result of the added bongos of Joe Harris, who manages to stay out of the way of the players—a quality not often found with drummers—but his playing is felt through the set. There are two members of the group not yet mentioned. Two Europeans, pianist-composer-arranger Francy Boland from Belgium, and trombonist Ake Persson from Sweden. Francy Boland this time is a sideman, though normally he is a leader of recording sessions, both as composer-arranger and as musical director of the band. In the fifties he was in the States writing arrangements for different name-bands, such as Basie and Goodman. In Europe, he is famous for his swinging modern big band arrangements; and his inventiveness as a writer is reflected in his piano playing. He has the talent of using the right dynamic approach every moment, thus making his playing helpful to soloists and interesting for listeners as well. Ake Persson has been Scandinavia's out-standing trombone player for about ten years. There are only a few trombonists in Europe who might match his talents at times, but they lack the consistency of his playing. He is impressive, whether playing in a big band, or whether main soloist in his own small groups. American musicians love the sound of his slide trombone and his easily flowing romantic improvisations, so he often joins American name-bands as they travel in Europe. The music speaks alone . . . , we said it before. You have your soul to feel the beauty, to follow lines and structure, and to enjoy the spiritual excitement. Whether you enjoy the flowing, easy sounding theme of "Please Don't Leave Me", or the climaxing piano solo in the same piece—the bass solo in "Waltz For Seth" or the swinging baritone sax—listen to the first bars of this solo and pay attention to Kenny. Whether you listen to "Campi's Idea", (named after Gigi Campi, the well known Cologne jazz enthusiast who organized this recording) with the romantic flute solo of Sahib, the interesting tempo changes, the piano comping, the moving trombone solo; or to the up-tempo "Herr Fixit", with the cooking Kenny and humorous, driving flute solo, you know that these six musicians where in the right mood, in the right stimulating surroundings to feel what we all feel when it's: SUMMER DAWN.

Those in the know are well aware of Bobby Marin's work, and the fact that he was behind the scenes for some of the best boogaloo and salsa of the '60s and '70s. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This compilation comprises twenty four essential boogaloo, Latin funk, rock and afro disco gems, each one bearing the mark of quality: "A Bobby Marin Production", including songs by Ricardo Marrero, the Ghetto Brothers, Ocho, Louie Ramírez_ A freshly curated overview of his fascinatingly complex back catalog in these genres. Since the late 1980s there have been numerous Latin soul and boogaloo compilations, and certainly much has been written about the history of the music too and an an excellent documentary (We Like It Like That, by Mathew Ramírez Warren) have brought the music to a broader audience. Generally, when discussing the "first wave" of Latin soul and boogaloo, it's the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers behind the music? Over the years, one of the best old-school New York Latin music producers, Bobby Marin, has occasionally been given some well-deserved credit and popped up sporadically in articles or liner notes (Wax Poetics, Fania, Gladys Palmera). However, to the casual public, he is not a household name, even among some fans of boogaloo. There are even some contemporary Latin soul compilations that contain mostly material licensed, produced and / or written by Bobby (or his brother, Richard), and a tip of the hat must go to Bobby's friend Dean Rudland for all his work in this area, as well as to Rocafort Records for digging up the long-lost Nitty Gritty Sextet album. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This collection aims to change that and give the man his Latin soul "props" for the first time on a freshly curated overview of his fascinatingly complex back catalog in this genre.

Electric Lady Studios: A Jimi Hendrix Vision is the latest in-depth project from Experience Hendrix, encompassing 5 LP / 1 Blu-Ray of previously unreleased music Jimi Hendrix recorded at his newly created recording facility in 1970. The deluxe box set offers 39 tracks (38 previously unreleased) that were recorded by the new-look Experience (Billy Cox on bass, Mitch Mitchell on drums) at Electric Lady Studios between June and August of 1970, just before the legendary musician’s untimely death the following month.

The project also includes 20 newly created 5.1 surround sound mixes of the entire First Rays Of The New Rising Sun album plus three bonus tracks “Valleys Of Neptune,” “Pali Gap,” and “Lover Man”. The Blu-ray includes the critically acclaimed, full-length documentary Electric Lady Studios: A Jimi Hendrix Vision. The film chronicles the creation of the studio, rising from the rubble of a bankrupt Manhattan nightclub to state-of-the-art recording facility inspired by Hendrix’s desire for a permanent studio. Directed by John McDermott and Produced by Janie Hendrix, George Scott and McDermott, the film features exclusive interviews with Steve Winwood who joined Hendrix on the first night of recording at the new studio, Experience bassist Billy Cox, and original Electric Lady staff members who helped Hendrix realize his dream. The documentary includes never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” “Angel” and “Dolly Dagger” by recording engineer Eddie Kramer. The 5LP’s were pressed on audiophile grade vinyl by Quality Record Pressings and the box set includes an extensive booklet filled with unpublished photos, Hendrix’s handwritten song drafts, and comprehensive liner notes.

Originally released September 29, 2009, Skyzoo’s first official full-length LP “The Salvation” is celebrating its 15th Anniversary this fall, via Duck Down Records. The Brooklyn-raised emcee first came to prominence on various Mix CD releases at the peak of hip hop’s blog era, but the album firmly established him as a major talent to be reckoned with, reminding hip hop fans that the hip hop music can still be true to life and heartfelt. An all-star roster of producers contributed beats to the project, including Just Blaze, 9th Wonder, Nottz, Illmind, Black Milk, and Needlz. The 15th Anniversary vinyl will be pressed on a limited edition Navy Blue and White marbled vinyl, matching the colors of the most famous fitted cap from New York.

Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.” But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality. The raw material Amputechture was hewn from started life on the road. Omar now travelled with his own mobile recording studio – a little Neve ten-channel tape recorder and an array of microphones – and was able to work on new ideas on tourbuses, in hotel rooms and during soundcheck (and, occasionally, after the show was done). After touring for Frances The Mute was complete, Omar relocated to Amsterdam, staying with his photographer friend Danielle Van Ark and her partner, Nils Post. It’s here that he demoed Amputechture, flying in engineer Jon DeBaun, drummer Jon Theodore and his brother, Chino, to work on these raw sketches. He later returned to Los Angeles, where the album was finally recorded. Omar ceded guitar duties to his dear friend and kindred spirit John Frusciante, instead assuming the role of musical director. “I wanted to hear the sound of the band,” he says. “I thought, I’ll be able to sit at the console, feel the air of the speakers moving, the unified sound of everything, and not feel distant from it. It was fun, but it was also challenging.” Part of Omar’s new method was to teach the musicians their parts only moments before the tapes rolled. “To keep things fresh, and to keep everyone on edge,” he says, before chuckling. “No, not on edge – on their toes. Amputechture would prove The Mars Volta’s most diverse set yet, drawing into the group’s tornado of influences moments of fiery jazz spirituality and esoteric folk introspection, finding space for passages of devastating subtlety and also their most fierce and full-on moments to date. The aforementioned Vicarious Atonement found its meditative mood echoed by Asilos Magdalena, an intimate, acoustic piece that invoked traditional Latin folk music, as Cedric sang in Spanish a sorrowful tale of a lost soul’s quest for sanctuary within a Magdalen Asylum, a refuge set up by the Catholic church for “fallen women”. The shadowy, sinister closer El Ciervo Vulnerado, meanwhile, tapped into the darker side of spiritual jazz to further explore the album’s themes of redemption and religious myth and magick. Elsewhere, the interplay between guitar and clarinet on Viscera Eyes created complex, unsettling counter-melodies, while the coiling, ornate Meccamputechture – Cedric’s wild fusion of sacred texts, occultism and dystopian science fiction – proved a great showcase for Ikey Owens’ swarming, infernal organ runs, in concert with Frusciante’s arcane guitar-play. But it was Day Of The Baphomets that would prove Amputechture’s most ambitious and most defining epic. Cedric’s lyrics tore into the hypocrisy of religious cant and myths of sin and punishment. “I wanted to make a song that was like the movie The Believers, where this cabal stole kids and did some occult shit with them,” he explains. “But I wanted it to be like, ‘What if the people you hire to do jobs you don’t wanna do rise up one day and then pull some shit like that?’ Like it was the guerrilla warfare, them taking over – wouldn’t that be some fucked up shit? And the music just lent itself to that – the big intro, the bass solo, and all of the ruckus that occurs.” That ruckus was some of the most thrilling Mars Volta music yet, as Omar directed his musicians to rumble through fiery modes of wild tribal groove, ransack-the-palaces riot- rock and supreme progressive experimentalism. Amputechture, then, is the sound of The Mars Volta in imperial mode: fearless, insatiable, unstoppable.

Blu’s music has been championed by outlets like XXL, Pitchfork, Okayplayer, HipHopDX, and more. In recent years, he has been interviewed by Billboard, Complex, LA Weekly, Noisey, Red Bull Music Academy, and more. Blu has collaborated with prominent artists like The Roots, Logic, Miguel, MF DOOM, Madlib, Anderson .Paak, Lupe Fiasco, Freddie Gibbs, Aloe Blacc, Roc Marciano, Slum Village, 9th Wonder, and more. Classic 2014 album on gatefold 2LP vinyl, now available after years out of print. Good To Be Home features guest appearances by Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, Chace Infinite, Cashus King, and more. L.A. rapper Blu burst onto the scene in the late 00s with the widely acclaimed Exile collaboration Below The Heavens, igniting a West Coast hip-hop renaissance in the process. With his cool Cali demeanor and undeniable lyrical talent, Blu drew praise from fans and tastemakers alike, launching a remarkable career that continues thriving to this day. His first ever double album, the 2014 masterpiece Good To Be Home is an essential part of this story. An unapologetic celebration of Los Angeles music and culture, the album takes listeners on a vivid journey through Blu’s storied stomping grounds. With sweeping strings and hypnotic bass lines supplied by producer Bombay, Good To Be Home features a host of West Coast hip-hop luminaries, including Evidence, Fashawn, Alchemist, Casey Veggies, MED, Planet Asia, Oh No, Pac Div, Strong Arm Steady, Thurz, Visionaries, and more. A cohesive collection with 20 tracks and no filler, this classic release is now available again on vinyl after years out of print.

Behind the deceptive veneer of the demure monotone artwork, something unassuming lies within this long-play waiting to be explored. Intrigued by the ironic title, enticed by the elegant text positioned alone on the beautifully tactile matte canvas, the listener will experience musical wonderment at odds with the presentation and discover that the 1976 album Colours is a powerful yet sophisticated set of electric soul-jazz. An inspired recording that bursts with warmth and texture, the pivotal recording from an exceptional jazz musician. HER name - Judy Bailey.

Over the course of a 70 year career, the pianist and composer established herself as one of the central figures of Australian jazz. Her crowning achievement Colours is a spirited and ambitious recording that captured the maturation and shifting jazz landscape of the mid 1970s Australia. Alongside other notable albums recorded mid decade including the 1975 self titled album by Melbourne's Arena (see Roundtable SIR014)) and Jackie Orszaczky's Beramiada (1975), the album signalled the countries transition from semi-acoustic jazz to electric jazz-funk. Regularly compared to the albums released on Creed Taylor's CTI label, Colours parallel these recordings with their clean production and spacious soul-jazz arrangements. In particular the crisp drums and processed bass heard on Bob James and Joe Farrell albums, the sprightly flute of Hubert Laws or perhaps the more sensual side of Flora Purim's vocals could all be suggested as a source of influence.

Continuing to celebrate and re-document Australia's jazz music legacy, The Roundtable are pleased to offer the first vinyl reissue of this seminal Australian Jazz recording. Presented in a replica gatefold sleeve with new liner notes, the full palette can once again be appreciated including the moody funk of Fall Down Dead, the Iberian Waltz Toledo, the Jazz-Dance anthem Colours Of My Dream and the spacey impressionist piece The Eleven Eight Song.