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Demon’s Souls (Original Soundtrack) is a modern reimagining of the incredible score composed by Shunsuke Kida for the original 2009 PlayStation 3 game, now updated for the 2020 PlayStation 5 remake. This soundtrack features that same amazing score but with dramatic new arrangements, great orchestral soundscapes and dramatic choral songs. Now available as a very limited vinyl set, pressed on a pair of gold LP's housed in a gatefold jacket featuring beautiful artwork by Ken Taylor. This soundtrack was recorded at AIR Studios in London, with a 75 piece orchestra, a 40 person choir and multiple vocal and instrumental soloists. Specialist marketing.

"To mark the 50th anniversary of the 1970 concept double album, Jesus Christ Superstar, it has today been announced that a variety of special anniversary edition albums will be released on September 17th. This landmark release, which includes full cooperation from the creators Tim Rice and Andrew Lloyd Webber, features an array of exclusive demos, commentaries, interviews and much more.
The special anniversary editions are a celebration of the original 1970 concept double album and its continued success spanning 50 years. With the new editions all having been re-mastered at Abbey Road, fans have a great selection to choose from.

Meditative tropical soundscape of the Hawaiian Islands
Originally pressed in 1980 in limited quantities
Meticulously restored and remastered by Jessica Thompson
A lost gem from the exotica pioneer's catalog: the rarest of all Arthur Lyman releases — and his last recorded album — Island Vibes a meditative tropical canvas of the Hawaiian Islands’ natural beauty.
A welcomed sonic transport to paradise, much needed in these times of chaos. Originally recorded with Broad Records, who’s responsible for Phase 7’s Playtime and other important 1970s and 80s-era local records.

This live set from the 1971 Montreux Jazz Festival was co-led by tenor saxophonist King Curtis (who tragically would be killed three months later) and veteran blues pianist/vocalist Champion Jack Dupree. With guitarist Cornell Dupree (in excellent form), bassist Jerry Jemmott and drummer Oliver Jackson laying down the foundation, Curtis and Dupree find a great deal of common musical ground. Dupree has quite a few witty vocals (particularly the near-classic "Junker's Blues") while taking choruses of irregular length that keep his sidemen continually guessing. Curtis' distinctive tenor is also heard from, making one truly regret that this was his final recording. (All music)

'The Works and Days: The Black Sections' is a sound collage album that emerged out of the production material of the film, The Works and Days (of Tayoko Shiojiri in the Shiotani Basin). The film — winner of the Encounters Golden Bear for Best Film at the 2020 Berlinale — is the second feature of C.W. Winter & Anders Edström. It is an eight-hour fiction shot for a total of twenty-seven weeks, over a period of fourteen months, in a village population forty-seven in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer. A portrait, over five seasons, of a family, of a terrain, of a sound space, and of a duration. The film was named one of the Ten Best Films of the Year by critics at: Artforum, Cargo, Cinema Scope, Desistfilm, Filo, La Internacional Cinéfila, Mubi, Nobody, Senses of Cinema, and Sight & Sound.

The film is accompanied by this LP, TheWorks and Days: The Black Sections, by C.W. Winter, and the photo book, Shiotani, by Anders Edström. The album features musical excerpts from Tim Berne & Bill Frisell, Tony Conrad, Graham Lambkin, Mary Jane Leach, Alvin Lucier, Phill Niblock, Folke Rabe, Éliane Radigue, and Akio Suzuki. Producing, editing, and recordings by C.W. Winter. Mastered by Stephan Mathieu.

Winter & Edström’s first feature, The Anchorage, won a Golden Leopard at Locarno Film Festival and won the Douglas E. Edwards Independent/Experimental Film/Video Award from the Los Angeles Film Critics Association. It was named one of the Ten Best Films of the Year by critics at Cinema Scope, Film Comment, Senses of Cinema, Variety, and Indie Wire and was named Best First Film of the Year by The New York Times. Their first film, a documentary short called One Plus One 2 was made in collaboration with the late British guitarist, Derek Bailey. Their film/video work has shown at such venues as the Institute of Contemporary Art (Boston), Centre national de la photographie (Paris), Kunstmuseum Wolfsburg, Fotomuseum Winterthur, NRW-Forum (Düsseldorf), the Harvard Film Archive, Anthology Film Archives, the Wexner Center for the Arts (Columbus), Centre de cultura contemporània de Barcelona, the Tokyo Metropolitan Museum of Photography, and the National Museum of Modern Art (Kyoto).

C.W. Winter was born in California. In 2020, he completed his DPhil in Art Practice & Theory at The Ruskin School of Art at the University of Oxford. He received his MFA from California Institute of the Arts where he studied closely under Thom Andersen, James Benning, and Allan Sekula. His writing has appeared in Cinema Scope, Moving Image Source, Purple, and Too Much. He lives in the United Kingdom where he is currently a Visiting Professor at the Royal College of Art and a Lecturer at the University of Oxford.

Side A excerpts:
“Thursday, May 5, 1977 & Friday, May 6, 1977: Part 4” Performed by Tony Conrad. Used by arrangement with The Tony Conrad Estate
“Sethwork” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“Pipe Dreams” Performed by Mary Jane Leach. Used by arrangement with Mary Jane Leach
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“2011” Performed by Tim Berne & Bill Frisell. Written by Tim Berne. Published by Party Time Music BMI. Recording courtesy of Minor Music Records/Screwgun Records

Side B excerpts:
“Ceremoniolose” Recorded by Graham Lambkin. Used by arrangement with Graham Lambkin
“Kugiuchi” Performed by Akio Suzuki. Recorded live for TheWorks and Days Used by arrangement with Akio Suzuki
“Music on a Long Thin Wire (Side A)” Performed by Alvin Lucier. Used by arrangement with Alvin Lucier
“A Third Trombone” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“Triptych: Part 1” Performed by Éliane Radigue. Used by arrangement with Éliane Radigue

In the wake of Bitch Magnet and current of Superchunk, Sooyoung Park and Mac McCaughan formed a raw version of Seam in the summer of ’91. With bassist Lexi Mitchell, the trio banged out an album and two singles worth of shambolic dream pop in the sweltering Chapel Hill heat. Ten songs of talk-whispered vocals, sloshing guitar solos, scattered snare rolls, Velocity Girl’s Sarah Shannon, and the original version of Codeine’s slowcore classic “New Year’s,” on LP for the first time in 30 years.

Thomas Dahyot. the voice of Madcaps, a feelgood French garage band
releases his debut solo LP as alter ego Pepper White.
Found in the ten songs of The Lonely Tunes Of Pepper White are Dahyot’s first
the loves in song - the casualness of JJ Cale, the smeared pop of 1969 Velvet
Underground, the profane gospel of Nat King Cole, the acoustic heartbreaks of
Ty Segall, the snap and crackle of a Barratt or Ayers.
These are wedded to the trademark signatures of his song writing: the astonishing breaks, the wonderful arrangements and the attention given to tempo.
And then there is the omnipresence of the piano whose keys he had fallen in
love with, “Lonely For Too Long”, the first song composed on the instrument
and its mellotron finale, gives some clues about the state of mind in which the
album was composed.
“Still In Love With You”, is sung on two octaves, as if Pepper was in duet with
himself. The bewitching “Home Alone” invokes the devilry of Screamin’ Jay
Hawkins, while “Rom Com” lays bare, with derision, the guilty pleasures linked
to televisual mawkishness. These are the elements, new and old, that make up
Pepper White’s music.

Bunny Lee as producer. Prince Jammy as engineer. The Aggrovators making the tracks. A Holy Trinity of Jamaican Music. Throughout the years, recorded music has been shaped by some enduring partnerships between producer and engineer, such as Teo Macero and Fred Plautt for Miles Davis, Jerry Wexler and Tom Dowd for Atlantic Records, and George Martin and Geoff Emerick for the Beatles. But possibly none were as prolific as the collaboration between Bunny 'Striker' Lee and Prince Jammy at King Tubby's Studio between 1976 and 1982.

In 1977 and 1982 respectively, Conflict Dub and Dubbing In The Front Yard were released in London as white labels in extremely limited quantities. The two LPs found the triumvirate of Lee, Jammy and The Aggrovators on perfect form, with driving instrumentals, flashes of vocal beauty, and mixes that ripped apart and rebuilt traditional notions of sonic structure. Due to the nature of their limited release (not to mention the lack of artwork and even titles) the two dub LPs quickly disappeared into that mythic realm of records whispered about by only the most hard-core reggae collectors. This release is the first-ever reissue of these sought after LPs, and contains all the original songs in both vinyl form (double LP set with both albums on the original labels) and a lush double pack cd with 3 extra bonus tracks. The sleeve notes are by Diggory Kenrick with amazing photos by Howard Johnson, director of the influential Channel 4 documentary 'Deep Roots Music'.

The 3 CD bonus tracks are all remixes. Two from Paolo 'Dubfiles' Baldini for the Dubbing in the Front Yard set. One for Conflict Dub by Diggory Kenrick.

In 2018, Pressure Sounds celebrated its 100th album release since it's founding in 1995. In that time, the label has been responsible for unearthing and celebrating some of the rarest, most influential and unique Jamaican records ever cut.

Following their critically well received debut album, Seekers, in 2017 - Our Kingdom Undone sees BEYOND GRACE refining and redefining their sound into something that’s simultaneously more intricate and more intense than ever before, combining conceptually ambitious songwriting and high octane heaviness in equal measure. Our Kingdom Undone’s gestation period took place under a pall of social unrest and political uncertainty the world over, so it’s perhaps no surprise that each of these eight songs is a cathartic scream of raw emotion and primal poetry. Full to the brim with lyrics that rage with unfettered fury and unbound frustration against the rise of isolationism, exploitation, rampant militarism, and religious indoctrination. Recorded at Stuck On A Name studio by Ian Boult and Bookhouse studio by Tom Hill, before being mixed and mastered by Charles Elliott (Tastemaker Audio / Abysmal Dawn), Our Kingdom Undone (whose stunning artwork was provided by in-demand UK artist Shindy Reehal) is both a crushing statement of intent and a vital reminder that the personal is political, that the ends do not justify the means, and that we must not let our fear divide us and drive us into an age of unreason.

Desmond Dekker is a Jamaican ska, rocksteady and reggae singer-songwriter and musician. He was originally a welder by profession, and it was his colleagues that encouraged him to pursue a career in music when they heard him singing in the workplace. He eventually signed a record deal with Beverley’s, and grew into one of Jamaica’s biggest stars. He is also credited with launching the career of fellow former welder Bob Marley.

In the 1993, he released the collaborative album King of Kings with English ska band The Specials through the famous reggae label Trojan Records. Released under the name Desmond Dekker and The Specials, King of Kings consists of songs by Dekker’s musical heroes including Byron Lee, Theophilus Beckford, Jimmy Cliff, and his friend and fellow Kong label artist, Derrick Morgan.

“This is another new one off the greatest album ever made. It’s called ‘My Kingdom.’” Rock and roll arrogance has never hemmed so close to the truth as this Ian McCulloch introduction to “My Kingdom” during the 1983 A Crystal Day concert special. Not only were Echo & the Bunnymen aware of the instant classic status of their latest LP, but the grand, majestic and fluid nature of Ocean Rain made it clear that the band had indeed set out to make “the greatest album ever made.” Ironically, despite all of their work and focus, this masterpiece sounds like it was simply handed down from the gods. Following the more rock-oriented material on their first albums, the songs on Ocean Rain were a departure. The aim was to make something “conceptual with lush orchestration, but with a twist.” With their success using strings on tracks like “The Back of Love” and “Never Stop” providing confidence, the band employed a 35-piece orchestra for Ocean Rain. Guitarist Will Sergeant would later describe the finished recording as “windswept; dark and stormy.” The Scott Walker / Love inspired string arrangements, unusual instrumentation, inventive recording techniques and McCulloch’s abstract and bewildering mysticism all added to the unique and timeless quality of the album. A statement of purpose by one of the elite bands from the ’80s underground, Ocean Rain includes several of the Echo & the Bunnymen’s most adored recordings and some of the best songs from the era. “The Killing Moon,” “Silver,” “Seven Seas,” “Crystal Days” and the aforementioned “My Kingdom” continue to mesmerize a new generation of post-punk romantics, and the band’s influence can be heard in the grandiose spectacle of groups such as Arcade Fire and British Sea Power.

In the most literal sense, globally renowned whistler Molly Lewis makes her gorgeous
and curious compositions out of thin air.
New entrees into the Exotica canon; sprawling, would-be Spaghetti Western scores;
and a dash of Old Hollywood glamour - the whistle-led songs on her debut EP ‘The
Forgotten Edge’ are as complex, delicate and indelible as anything performed with
viola or piano.
“Whistling is like a human theremin,” said Lewis, an Australian native who’s spent the
last several years in LA and whose performances there and around the world are
changing any preconceived notions of whistling by the room-full.
That’s not to say Lewis is all serious and snooty about the craft. Quite the contrary.
Her sense of humour is witty, self-deprecating and zany. She’s as likely to reference
the slapstick Leslie Nielsen film series ‘Naked Gun’ for music video concepts as she
is a classic piece of noir cinema.
Look no further than the equatorial and breezy opening cut ‘Oceanic Feeling’, a
lovely walk across the flotsam-sprinkled sands in the rum-pumping vein of Les
Baxter. Meanwhile, the title track - and really, the entire collection here - is a loving,
albeit rather haunting, salute to one of Lewis’s heroes, the Italian composer and
musician Alessandro Alessandroni, whose whistle and guitar you hear on the title
theme of Ennio Morricone’s ‘A Fistful of Dollars’. Lewis and her ensemble create
classic cinema for your mind.
Her own love for the artform began when, around the age of twelve she was given
the CD ‘Steve ‘The Whistler’ Herbst Whistles Broadway’. Something contained in it
clicked. “It wasn’t that I was immediately obsessed, but I knew it was something I
could do well,” Lewis said.
The daughter of a musician mother and a documentary filmmaker father who often
focused his films on niche communities and topics, Lewis recalls watching a
television documentary with her parents about The International Whistlers
Convention in Louisburg, North Carolina. “My dad said, ‘If you ever make it into the
competition, I’ll take you there’,” Lewis said. Turns out, there was no bar to entry, just
a small fee. And so, several years later, she and her father travelled to the
convention. New to the form, Lewis didn’t take home one of the bigger prizes but they
were awarded the prize for Whistler Who Traveled The Greatest Distance. “We really
just used the trip to drive around the United States,” she said.
After studying film in Australia, Lewis moved to Los Angeles to be close to the film
industry. There, her circle of artist friends grew naturally and with providence - her
unique talent drawing more and more recognition. And over the last few years,
Lewis’s Café Molly events at LA spots like Zebulon, Non Plus Ultra and The Natural
History Museum have become fabled, elegant happenings with appearances from
guests like John C. Reilly, Karen O and Mac DeMarco.
Recorded with a crack team of friends and musicians during 2020’s quarantine, ‘The
Forgotten Edge’ is rife with incredible performances from Thomas Brenneck (Sharon
Jones & The Dap-Kings / Budos Band), Joe Harrison (Charles Bradley, Lee Fields),
Eric Hagstrom (Brainstory), Abe Rounds (Meshell Ndegeocello, Andrew Bird, Blake
Mills), Leon Michels (El Michels Affair), Gabriel Rowland and Dave Guy.

Ready to chant down Babylon with musical fire and brimstone, none other than Bukkha returns to the revered Moonshine Recordings with a truckload full of sound system music in Roots Dub and Stepper style. Ten organic heavyweight cuts on 2x12" - strictly dubwise, no compromise!

Originally from the US and now residing in Spain, a musical veteran with a career spanning more than a decade, it's safe to say Bukkha runs things when it comes to fuelling sound systems. On top of his long-standing involvement in the thunderous Moonshine Rec. discography, the prolific artist maintains a consistent record of top-shelf releases on numerous famed record labels within the global melting pot of Dub-influenced dance music, including System Music, Dub-Stuy, Lion Charge, and so on. His 'In Roots Vol. 1' debut LP features seven talented guest artists from around the globe, the extended Dub family in full force and effect - connected to Bukkha through previous projects, shared tours and overall engagement in the scene. The symbiotic nature of the collaborations can be heard and felt as big stacks of speakers lend their voice to the musical message. Rebellious sounds for the healing of the nation. In a conscious stepper style, the release marches through original future classics - whether instrumental or led by the Rastafarian teachings of Mowty Mahlyka, anthem brass melodies by JahWind All-Stars, harmonica meditation by Hazeldub or Don Fe's notoriously brilliant flute virtuosity. With true to the roots delay and reverb effects in the original Dub fashion, the album pays tribute to the technique pioneered by the likes of King Tubby, nothing less than a next-generation torchbearer. Sound system music, as timeless as its cultural heritage.

Jimmy Tamborello returns with a collection of 10 pop-infused vocal hymns – simultaneously perfect dance floor fillers and lullabies. "Away" is the second of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus. While "The Seas Trees See" showcased Tamborello's more intricate and quiet side, "Away" embraces his love for pop music. A genre which like no other has been resonating the advancements of technology from the very beginning. Songwriting was sequenced and computerized on such a large scale that it would change the sonic aesthetics of the charts forever.

Dntel is a musician who changed pop music forever – and still works in this never-ending labour of love, both effortless and highly focused, constantly tweaking the universe of our musical perception. Whether beatless or uncompromisingly embracing the limelight of collective ecstasy with one of his most remembered tunes "(This Is) The Dream Of Evan And Chan", his almost forgotten anthem "Don’t Get Your Hopes Up" or his work as James Figurine. "Away" features 10 of these extravaganzas – uniting his audience once more in hope and future-bound optimism.

"I grew up with 80s techno-pop – these influences always come through in my music", Jimmy writes from Los Angeles. For this album, though, "I was thinking more of 80s indie pop or labels like 4AD. It is a mix of those influences along with trying to figure out what elements of my own discography I still connect with. I wanted it to reflect old Dntel records as well as the techno-pop band Figurine I used to be in. I have always considered my music basically being techno-pop, but not referring to pop as popular music – I just like pretty melodies. But with the Dntel moniker, I never had the ambition to produce music for a really big audience.”

It is exactly that looseness in approaching music which makes Tamborello’s style of composing so unique. On "Away" he combines a healthy dose of distortion with the most-sticking melodies, vocals and bitter-sweet lyrics he ever came up with – performing all vocals himself, with the help of technology. "My voice has a limited range. When I applied this vocal processing it seemed to bring out the emotions more. I don’t see it as the same as the more artificial, autotuned style of modern pop music. I think it still sounds like it could be a real person singing, just not me."

Using this technique, Dntel disembodies himself from his own art, welcoming all kinds of interpretations re. his current state as an artist. "Somehow this processed voice feels closer to how I see myself than my normal voice, for better or worse…", he writes. Pop music is a fragile entity, making its kingpins vulnerable. Many emotions reveal a lot of the originator’s personality –this is something one has to be prepared for. On "Away", Jimmy Tamborello finds the perfect way of marrying his unique musical personality with both the demands and possibilities of pop music. Just listen to "Connect" and you’ll know what we’re talking about. A perfect, yet timeless album for less than perfect times.

Ramona Córdova is a sound artist — passionate about writing, communicating, linguistics, behavioural & social psychology, observation & investigative research, photography, sound recording, and design. Their artist focus is on project-based sound and visual media, public engagement and live performance — although they are best known for their music and are typical regarded as a singer songwriter. Ramona Córdova intends to speak to the challenges of living under systems of oppression while inspiring introspection and personal growth toward the maturing of our societies. Ramona is Haitian-Filipina, Puerto Rican, born in Kingman, Arizona, USA and is inter-feminine trans non-binary.

"When I first started working on Naïve I was completely consumed by all of the technical details involved in making a 'professional studio recording' on my own - one which could not be refuted or disregarded as subpar. My only other hope was to tell some sort of story with whichever songs i could piece together. The content and message of which were much less important to me.

The story that Naïve ended up telling comes from a cohesion of themes, ceaseless in my personal experiences living day to day in the world. Although the album dares to tread on tact while speaking poetically and lyrically about issues such as systemic oppression, racism, misogyny, policing and patriarchy - I think the album really just wants to reflect - to serve as a reflection - in order to foster healing and healthy growth towards maturing. I feel it commanding a kind of firm kindness as a reminder to love yourself enough to accept others, by way of accepting yourself.

Pressed onto this 180-gram vinyl are 10 songs I wrote while living in many different places around the world. Spontaneous recordings of inspired notions of song, written one rainy evening up high above the vineyards in Banyuls-sur-Mer became Men on the Mountain. A Scrap of paper holding jots about a sudden storm on a hot day in August while helping friends on their farm in Puglia became Mouth of Autumn and Peace Through Violence. As I dressed myself into the fragile reality of the United States, I became flooded by its manipulative social governing systems. As the monuments of slave-owners, colonisers, and white supremacists came crashing down in the name of responsibility and accountability, The Bridge Works was built, a song about crossing bridges towards empathy and equality. Civil rights activist and American-Football quarterback, Colin Kaepernick, taking the knee during the United States national anthem pre-game ceremony, brought about So Long. The incessant murdering of black, brown, and transgender citizens brought Woke, Scared I'll Bite You, and The End. The murder of Eric Garner and the feeling of being choked-out and suffocated under the weight of systemic oppression brought about Still.

From all of this birthed the collection of songs that is Naïve, a title given to the album by French Ghanian artist Eden Tinto Collins. Although written both in Europe and the U.S., most of the songs were performed and recorded at the end of the year 2018 in Philadelphia, during the American-Holidays season. Still, Loving Him, and The End were written in Philadelphia, but produced in Vlorë, Albania. This helped serve as a reminder that the issues these songs speak of are not isolated to the United States of America." - Ramona Córdova

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

Shadow Kingdom Records is proud to present Hour of 13’s long-awaited
fourth album, ‘Black Magick Rites’, on CD and vinyl LP.
‘Black Magick Rites’ is the sweet sound of salvation...through damnation.
Hour of 13’s first full-length offering in over eight years, ‘Black Magick Rites’
was available digitally on the first of November 2020 for only 24 hours. Just as
uniquely, ‘Black Magick Rites’ also marks the first Hour of 13 album where he
handles not only all instruments, but also all vocals.
Indeed, Davis’ vocals evoke an ancient nostalgia, of doom metal before it was
“”doom metal”” - of the days when bands like Black Sabbath, Pagan Altar, and
Witchfinder General simply followed their respective muses wherever it took
them. And for Davis, ‘Black Magick Rites’ sees him taking his Hour of 13 muse
toward a rougher, more rock ‘n’ roll expression and yet tinged with an emotive
melancholy that resonates deeply within the soul.
No, no flavor-of-the-week “”occult rock”” cliches here, for Davis still prizes
blue-collared authenticity in his doom, but he likewise never lets it hamper his
immediately recognizable songwriting, which here ever so subtly inches closer
to classic deathrock territory (think the likes of early Christan Death and Voodoo Church).
Naturally, with a title like ‘Black Magick Rites’, an indulgence in occultism is expected, and you can literally feel the fingers of the black beyond reaching out
to you across every electric minute of this 44-minute monolith.

Canadian collective The Hello Darlins, dubbed “the Broken Social Scene of
Americana”, release their first full-length LP Go By Feel on June 11, 2021.
With over 500,000 combined Spotify streams for their initial three singles, it’s
safe to say there’s a lot of anticipation for their debut album. The buzz began
building almost immediately after the Calgary, Alberta-based Americana collective debuted on the scene in early 2020, with American Songwriter calling the
group “the product of a talented pool of session musicians craving more,” while
Americana UK stated, “It’s great to see a band put together by the talented
folks who would usually be ‘behind the scenes.’”
So, who exactly are The Hello Darlins? The seeds of the band took root in 2016
when vocalist/producer Candace Lacina crossed paths again with keyboardist/
producer Mike Little after first meeting at a recording studio years earlier. Once
reconnected, they soon found themselves making music together in between
their work with other artists, an impressive list that ranges from Shania Twain
to Charlie Major, The Road Hammers to George Canyon as well as the late B.B.
King.
In short order, the couple began inviting others within their circle to participate, including Murray Pulver (Crash Test Dummies), Clay- ton Bellamy (The
Road Hammers), Matt Andersen, Dave and Joey Landreth (aka The Bros. Landreth), Russell Broom (Jann Arden), and ace fiddler Shane Guse.
On Go By Feel, this incredible collection of talent has forged a hybrid of country,
gospel and blues like no other, from the heart-wrenching ballads “Aberdeen”
and “Prayer For A Sparrow” to the classic country-rocker “Mountain Time” and
the album’s soulful title track.
Making music influenced by times of joy and sorrow is natural for Candace and
Mike, as both come from families with long musical traditions within Canada.
It all adds up to The Hello Darlins preferring to add “North” to the Americana
genre, a more than symbolic gesture that’s in line with a musical vision that will
continue to evolve as soon as the band gets a chance to play live with a lineup that could potentially consist of anywhere between five to nine players on
stage.
Until then, audiences will now be able to fully savour the tunes, musicianship
and production of Go By Feel, proof positive that teamwork ultimately leads to
exceptional results.

Having taken a break from music for a few years, South London’s ME REX began life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop. Armed with a slew of “surging gargantuan hooks” and themes of friendship, forgiveness, joy and dinosaurs, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). Now, graduated from producing songs at home to recording at Resident Studios in North London with Mandell behind the mixing desk: ME REX spent the latter half of 2020 bashing down the doors to the indie world with double EP ‘Triceratops/Stegosuarus’. Finding their penchant for constructing delicate threads of vocal layering to convey feelings of calm while building on luscious swathes of reverberated guitar and keys on single ‘Rites’, the band are not afraid to explore different musical concepts: shaping material that strays from traditional album and single structures that results in a sound that could easily find a home on the big screen as they do behind closed doors. Described as “making for both a potent and cathartic listen all round” by DIY magazine — as well as seeing praise from Stereogum, BBC 6Music, Radio X, Amazing Radio, For The Rabbits and Circuit Sweet — ME REX are back with a new and ambitious project ‘Megabear’, an album made up of 52 tracks that has no beginning or end but exists as a cyclical body of work.