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Formed in Montreal, eight-piece funk band Cane and Abel melded Caribbean elements with soul, blues and psych, frontman Frenchie Thompson holding plenty of bite and the full horn section including former Dragonaires trumpeter Norris Ridguard. After early singles on GRT, the group signed to Epic and relocated to the US but made their biggest splash in France, where they cut two LPs in 1972; this self-titled rarity has Thompson’s ‘Girl You Move Me,’ percussionist Blinky Bostic’s ‘Who’s Gonna Take The Weight,’ and likeable takes of Wilson Picket’s ‘Don’t Knock My Love,’ ‘Green Grass’ and ‘Toe Hold.’ A lost funk classic!

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves, ‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".s*

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Enjoy The Ride Records is happy to share an exclusive variant of the Milan Records release of Euphoria (Original Score from the HBO Series), Music by Labrinth.

Written and recorded in close collaboration with the Euphoria writer and director Sam Levinson, Labrinth‘s original compositions feature prominently throughout the hit HBO series as a sonic companion to the show’s angst-driven narrative and intoxicating visuals. The resulting 26-track collection is a genre-blending mix of gospel, soul, and electronic influences, indicative both of Labrinth’s imitable style as well as the show’s deeply moving storyline.

Of the album, Labrinth says, “My experience with Euphoria has made me a better musician. It was a dream come true to give wings and add magic to the different storylines. It was a collaborative effort among Sam Levinson, the crew, and the cast – I only added texture to an already phenomenal show. I hope that anyone who listens to the music embraces feeling something.”

Euphoria follows a group of high school students as they navigate love and friendships in a world of drugs, sex, trauma, and social media. The ensemble cast of Euphoria includes actor and singer Zendaya, Maude Apatow (Girls), Angus Cloud, Eric Dane, Alexa Demie, Jacob Elordi, Barbie Ferreira, Nika King, Storm Reid, Hunter Schafer, Algee Smith and Sydney Sweeney (Sharp Objects).

Euphoria is an American adaptation of an Israeli show of the same name, and all episodes are written by Sam Levinson (Assassination Nation), who also serves as executive producer.

The Enjoy The Ride Records Exclusive variant, ""Night Sky Blue,"" is limited to 1,000 copies. Euphoria is housed in a silver foil stamped & numbered soft-touch gatefold jacket with spot gloss and also contains a full-color insert.

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves,
‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".
*Reissue Of The Week In The Quietus*

In a world full of cheesecake rappers, one man has assembled a phenomenal team to bring you madness. The original originator, ultramanetic, high-wire rap legend Kool Keith brings a star studded album to the fore. "Feature Magnetic" highlights MF DOOM, SLug of Atmpshere, Mac Mall, Necro, Craig G, Dirt Nasty, Ras Kass and more. This special edition 24 for '24 Artist Series Vinyl also features original oil painting art by KipDaFog for this oen time pressing on tri-color canary cake vinyl.

Born Samantha Owens in Liverpool, Jones began her recording career in The Vernon Girls, a female singing group affiliated with the Vernon Football Pools company; they created a popular Beatles tribute album in 1964 with producer Charles Blackwell, who launched Jones’ solo career that same year. Blackwell producer a debut solo LP for Ascot in 1968; two years later, Larry Page released sophomore set A Girl Named Sam, with Austrian wunderkind Mark Wirtz casting her in the broad realm of pop, though most of the songs describe romantic failures. The album thus has a tongue-in-cheek cover of Burt Bacharach’s “I’ll Never Fall In Love Again” and credible renditions of Aretha’s “You Make Me Feel Like A Natural Woman” and Jackie DeShannon’s “Put A Little Love In Your Heart.”

Limited green vinyl 180gr press with one bonus track for RSD 2020.

Bugger Off! picked up where its predecessor left off, and rampaged on from there. Covers of Zappa’s “Willy the Pimp” and the Kinks’ “You Really Got Me” might have seemed a little obvious, but both are battered down with such a glorious lack of finesse that it’s impossible to object — anybody familiar with, respectively, Juicy Lucy and the
Hammersmith Gorillas’ versions of the same songs will come in with at least a vague idea of what to expect, but that’s about it.

“Hoochie Coochie Man” is even more disheveled, and when John Peel’s liner notes reminisce on the group’s insistence on recording live, you can tell he’s not necessarily looking back with any fondness.
On one occasion, he suggested they do a little overdubbing.

The band’s response to his words would become the album’s title. Including “Mama Keep Your Big Mouth Shut” as bonus track taken from the 1972 John Peel Session.

In 1967, the English poet George Duffell, alias Jorgy Porgy, decided to set his verses to music, birthing J.P. Sunshine with guitarist/vocalist Rod Goodway of pop act the Pack (later with the Crazy World of Arthur Brown), the line-up expanding with a bassist and bongo player, Duffell’s girlfriend on percussion, and former Pack guitarist Andy Rickell on electric lead. These resultant recordings, cut on basic gear in Duffell’s flat, evidence an individual psychedelic sound, marked by the incestuous claustrophobia of the group’s romantic rivalries, the meandering lyrics and disjointed melodies pointing to the pervasive drug use that ultimately squashed the project. This is psych with a difference: rare, rough, and freaky!

Bona fide all-girl bands the Hairem, the Girls, the Debutantes, the Missfits, the Beat-Chics and the Ace Of Cups are stars of the show on this new vinyl volume in our ear-grabbing “Girls With Guitars” series, providing further confirmation that girls can do what the guys do.

This collection opens with ‘Get Away From Me’ by the mean-sounding Angels (probably not the ‘My Boyfriend’s Back’ group of that name), a slice of feisty she-rock recorded circa 1965 that remained on the shelf at Philadelphia’s Swan Records until Ace rescued it about 40 years later, and closes with ‘Glue’ by the Ace Of Cups, a hippy outfit raved about by Jimi Hendrix in a Melody Maker interview back in 1967.

Elsewhere, ballsy-voiced Joyce Harris (think Wanda Jackson meets Tina Turner) teams up with Texas bar band the Daylighters to tear the roof off ‘I Got My Mojo Working’, teenage ice skater Debbie Williams sings lead with male garage band the Unwritten Law, guitarist Chiyo fronts the Crescents on the instrumental ‘Pink Dominos’ and, well, you get the picture. Those so inclined can learn more about all the tracks on the swanky inner bag containing a picture-packed 3,000-word track commentary by series compiler Mick Patrick

1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule, ready to cut an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, their work results in a contemporary bossanova record that would provide a missing link between Antonio Carlos Jobim and Kraftwerk. Camino Del Sol was issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover's sunlit patio furniture emptiness basking in the south of France, we scooped up Camino Del Sol and grouped the extant Antena recordings from that exceptional period by session. Numero Group's definitive 2LP reissue of the original five-song mini-LP adds the group's first 12" (a cover of Jobim's "Girl From Ipanema," naturally), the Seaside Weekend 12", compilation tracks, and two previously unissued cuts, recasting this short-lived combo's forward-thinking milemarker as a modern-day masterstroke. 2x150g LP in a 2-pocket gatefold tip-on jacket with 2 printed inner sleeves.

The earliest recordings of Neil Young with Crazy Horse are surrounded by a very special aura. The material is so historic - 55 years! - that the most loyal fans, whose shelves are filled with just about every release by the musician and his formative band, can hardly contain their excitement when new releases from this period are announced. Now the time has come again: EARLY DAZE will be released on June 28 and the excitement among fans is already palpable.

The album will be released on June 28th on black vinyl, CD and digital. A limited edition clear vinyl with exclusive poster will be available at indie retailers. EARLY DAZE is a collection of 10 songs, each one a unique original that became an instant classic and remains so to this day. The recordings on this album have never been heard before and sound as new as when they were made. The EARLY DAZE are back.

The earliest recordings of Neil Young with Crazy Horse are surrounded by a very special aura. The material is so historic - 55 years! - that the most loyal fans, whose shelves are filled with just about every release by the musician and his formative band, can hardly contain their excitement when new releases from this period are announced. Now the time has come again: EARLY DAZE will be released on June 28 and the excitement among fans is already palpable.

The album will be released on June 28th on black vinyl, CD and digital. A limited edition clear vinyl with exclusive poster will be available at indie retailers. EARLY DAZE is a collection of 10 songs, each one a unique original that became an instant classic and remains so to this day. The recordings on this album have never been heard before and sound as new as when they were made. The EARLY DAZE are back.

This single comprises two stand out tracks from “Power-Fuerza” (1972), one of the best Latin funk albums ever recorded, with all the right ingredients to shake dance floors worldwide. Produced by boogaloo-don Bobby Marin, these tracks are a vibrant tapestry, weaving together the raw energy of the South Bronx streets and the soulful melodies born from the band's Puerto Rican heritage. The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy Melendez, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds…) This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity.

Marking 40 years of The Jesus And Mary Chain, "Glasgow Eyes" was recorded at Mogwai"s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017"s "Damage and Joy", becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK"s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz. "Glasgow Eyes" not only extends The Jesus and Mary Chain"s story, but feels simultaneously like a return to roots. From the incendiary "Psychocandy" debut and its classic "Just Like Honey" onwards, the Reid brothers steadily became the misfits who made good without compromise.

The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path. Pressed on violet vinyl!

Since roaring onto the scene, the band has cemented themselves as one of British indie's most consistent and successful groups.

The immediacy and carefree attitude are the driving motivations of this superb new release via the band's own independent label, Alt. Records. With creative collaborations including Matt Schwartz (YungBlud), Benjy Gibson (Fred Again), Kid Harpoon (Harry Styles) and The Nocturns (Mimi Webb), this record is for fans of guitar music who are not afraid of big hooks and massive choruses. The result
is their first album without compromise, reflecting the joy and energy they brought to the scene with their debut 'Open Up Your Head' and hit songs like 'Call Me Out' and 'All I Want To Hear You Say'.

Since roaring onto the scene, the band has cemented themselves as one of British indie's most consistent and successful groups.

The immediacy and carefree attitude are the driving motivations of this superb new release via the band's own independent label, Alt. Records. With creative collaborations including Matt Schwartz (YungBlud), Benjy Gibson (Fred Again), Kid Harpoon (Harry Styles) and The Nocturns (Mimi Webb), this record is for fans of guitar music who are not afraid of big hooks and massive choruses. The result
is their first album without compromise, reflecting the joy and energy they brought to the scene with their debut 'Open Up Your Head' and hit songs like 'Call Me Out' and 'All I Want To Hear You Say'.

For the most part, J.R. omits the county, americana, and folk influences heard on All Blue though there is a shock of recognition in the always surprising power and pure tone of her voice. Rich in melody and early confidence, Julianna Riolino here draws from classic girl- group pop and contemporary indie while establishing a
characteristic song- writing template of interpreting foundational texts and iconography to portray uniquely personal experiences and emotional truths. "It's like it's who you are before you grow more" she says of J.R. now. It's an important step in the formation of an important and thrilling artist, and one of today's greatest singers. J.R. is available on Black or Yellow vinyl (indie-only).

One of the stand-out acts on Freshly Squeezed in 2023, ELLE & THE POCKET BELLES released increasingly acclaimed singles and videos across the year. Now their full 10 track album drops showcasing the diversity and strength of songwriting, musicianship and jazz-infused production. Now available on Clear Red 12" vinyl!

Not just a singles band, the album offers real jazz sophistication on songs like OLD FASHIONED and a moving theatrical flourish on DON'T YOU WORRY. But on songs like WHAT'S A GIRL TO DO... the group really show off the many years spent on London's vintage club scene refining their sound and style into the perfect distillation of a classic retro style in a thoroughly modern way.

Since release, the album has shared a combined 1 million streams across Spotify and YouTube, and several tracks have been featured on several editorial playlists on Spotify. SEE YOU LATER was played over 25k times across YouTube and Spotify in its first weekend, now reaching 700k streams. The album was also nominated record of the week by BBC Cornwall.

The group are reminiscent of a cross between classic 60s soul and 50s girl groups given a joyful and wry modern twist. ELLE & THE POCKET BELLES are gigging across the UK's summer festival circuit in support of their album.

SAM MORTON, das musikalische Duo, bestehend aus der Sängerin, Songwriterin und jüngst mit dem BAFTA (dem britischen Äquivalent zum Oscar) ausgezeichneten Schauspielerin und Regisseurin Samantha Morton und dem Musikproduzenten und Co-Songwriter Richard Russell, veröffentlichen ihr gemeinsames Debütalbum. Das Album trägt den Titel "Daffodils & Dirt" und wird am 14. Juni über XL Recordings veröffentlicht. In zwölf atmosphärischen Tracks bauen die beiden eine zutiefst persönliche musikalische Welt auf, die gleichzeitig intim und zart, aber auch kraftvoll und mitunter schroff wirkt. In der teilweise autobiografischen Songfolge bilden Russells spartanische Klanglandschaften das fragile Gerüst für Mortons wunderschönen wie ätherischen Gesang. Unterstützt werden sie dabei von einer Reihe musikalischer Freunde. Darunter Alabaster DePlume, Laura Groves, Jack Peñate und als zusätzliche Sängerin Ali Campbell (bei "Broxtowe Girl"). Obwohl Samantha Morton schon ihr ganzes Leben lang Musik liebt und sich mit ihr beschäftigt, ist dies ihr erstes Projekt als Musikerin überhaupt. Die Zusammenarbeit kam zustande, nachdem sie im Oktober 2020 in der BBC-Sendung "Desert Island Discs" auftrat und Russell zufällig zuhörte. Er war nicht nur von ihrer Songauswahl beeindruckt (einschließlich der gemeinsamen Vorliebe für ein bestimmtes Lied: "I Remember" von Molly Drake), sondern auch von der Art und Weise, wie die Musik ihre Lebenserfahrungen verwebt. Die beiden nahmen Kontakt auf und tauschten Ideen, Skizzen und Gedankenströme aus. Schließlich trafen sie sich Monate später im Studio und begannen eine spontane wie intensive und ergebnisoffene Zusammenarbeit, die sich für beide Künstler als kathartischer musikalischer Prozess erwies. "Daffodils & Dirt" wurde schließlich 2023 fertiggestellt und zeigt, wie es klingt, wenn Sound-Kosmen miteinander zu einer wunderschönen Fusionen verschmelzen. "Daffodils & Dirt" ist digital und als CD, LP und exklusive gelbe Indie-Vinyl erhältlich. Das Cover des Albums zeigt ein Archivfoto des renommierten britisch-amerikanischen Fotografen und bildenden Künstlers Nick Waplington, der das Leben in Nottinghams Broxtowe Estate zur gleichen Zeit dokumentierte, als Morton dort Mitte der 1980er Jahre aufwuchs. Bereits heute erscheint die neue Single "Let"s Walk In The Night" aus dem Album. "Let"s Walk In The Night" ist eine gespenstische, jenseitige Neuinterpretation des britischen Street Soul und wird von einem Video begleitet, bei dem Samantha Morton selbst Regie führte. Das Video wurde auf der jährlichen Goose Fair in Nottingham gedreht und ist das zweite Musikvideo, bei dem Morton Regie geführt hat, nach dem Video zu "Cry Without End", in dem sie auch die Hauptrolle spielte Anfang des Jahres.

SAM MORTON, das musikalische Duo, bestehend aus der Sängerin, Songwriterin und jüngst mit dem BAFTA (dem britischen Äquivalent zum Oscar) ausgezeichneten Schauspielerin und Regisseurin Samantha Morton und dem Musikproduzenten und Co-Songwriter Richard Russell, veröffentlichen ihr gemeinsames Debütalbum. Das Album trägt den Titel "Daffodils & Dirt" und wird am 14. Juni über XL Recordings veröffentlicht. In zwölf atmosphärischen Tracks bauen die beiden eine zutiefst persönliche musikalische Welt auf, die gleichzeitig intim und zart, aber auch kraftvoll und mitunter schroff wirkt. In der teilweise autobiografischen Songfolge bilden Russells spartanische Klanglandschaften das fragile Gerüst für Mortons wunderschönen wie ätherischen Gesang. Unterstützt werden sie dabei von einer Reihe musikalischer Freunde. Darunter Alabaster DePlume, Laura Groves, Jack Peñate und als zusätzliche Sängerin Ali Campbell (bei "Broxtowe Girl"). Obwohl Samantha Morton schon ihr ganzes Leben lang Musik liebt und sich mit ihr beschäftigt, ist dies ihr erstes Projekt als Musikerin überhaupt. Die Zusammenarbeit kam zustande, nachdem sie im Oktober 2020 in der BBC-Sendung "Desert Island Discs" auftrat und Russell zufällig zuhörte. Er war nicht nur von ihrer Songauswahl beeindruckt (einschließlich der gemeinsamen Vorliebe für ein bestimmtes Lied: "I Remember" von Molly Drake), sondern auch von der Art und Weise, wie die Musik ihre Lebenserfahrungen verwebt. Die beiden nahmen Kontakt auf und tauschten Ideen, Skizzen und Gedankenströme aus. Schließlich trafen sie sich Monate später im Studio und begannen eine spontane wie intensive und ergebnisoffene Zusammenarbeit, die sich für beide Künstler als kathartischer musikalischer Prozess erwies. "Daffodils & Dirt" wurde schließlich 2023 fertiggestellt und zeigt, wie es klingt, wenn Sound-Kosmen miteinander zu einer wunderschönen Fusionen verschmelzen. "Daffodils & Dirt" ist digital und als CD, LP und exklusive gelbe Indie-Vinyl erhältlich. Das Cover des Albums zeigt ein Archivfoto des renommierten britisch-amerikanischen Fotografen und bildenden Künstlers Nick Waplington, der das Leben in Nottinghams Broxtowe Estate zur gleichen Zeit dokumentierte, als Morton dort Mitte der 1980er Jahre aufwuchs. Bereits heute erscheint die neue Single "Let"s Walk In The Night" aus dem Album. "Let"s Walk In The Night" ist eine gespenstische, jenseitige Neuinterpretation des britischen Street Soul und wird von einem Video begleitet, bei dem Samantha Morton selbst Regie führte. Das Video wurde auf der jährlichen Goose Fair in Nottingham gedreht und ist das zweite Musikvideo, bei dem Morton Regie geführt hat, nach dem Video zu "Cry Without End", in dem sie auch die Hauptrolle spielte Anfang des Jahres.

"Known for her powerful vocals, dynamic stage presence, and diverse musical influences, LA-based soul and funk singer Nikka Costa returns from a musical career break with future-forward disco-inspired sounds on ‘Dirty Disco’.

The lyric “Everyone is welcome, everyone’s an Avatar” denotes a place where anyone can go to be themselves and let their freak flag fly! and sets the tone for her disco and soul fused, progressive album, which is recorded with and produced by Justin Stanley (Prince, Jamie Lidell, Beck etc). Along with the talents of versatile musicians such as Brandon Coleman (Kamasi Washington, Thundercat, Donald Glover, Flying Lotus), Greg Phillinganes (Michael Jackson, Stevie Wonder) and Kaveh Rastegar (John Legend, Beck), Nikka Costa invites you to immerse yourself in her “Dirty Disco” world.

“Dirty Disco is about a place anyone can go to be themselves and let their freak flag fly! It’s about a place where no one is looking, no one cares what you're doing or what you're into. It could be a disco, but it could also be another planet or headspace or vibe. It's dark and sparkly, blue and purple. Gritty, raw and sexy. Whatever you want it to be.” - Nikka Costa"

While she was still a member of Nasmak, one of the leading bands of the Dutch ultra-movement, Truus de Groot started Plus Instruments in 1978 with herself as the sole member. When the project evolved, she found a wide range of rotating collaborators like Michel Waisvisz, Lee Ranaldo and James Sclavunos. Plus Instruments was about freedom and the live performances were largely improvised. The sound minimal but captivating. The music always came from within, but De Groot was also triggered by bands like Red Crayola, Suicide, DAF, Wire, Per Ubu, Devo and the No Wave scene in NY. She was always experimenting with primitive multi-track recording and whatever crappy gadgets she could find. Always looking for a gritty, dirty sound and bizarre overtones.

At a young age she travelled to New York and began to immerse herself in the nightlife of the city that never sleeps. Here she found true creativity, passion and expression. The club scene was alive but highly competitive, so this fearless Dutch girl would just knock on promoter’s doors to get gigs booked at places like CBGB’s, Peppermint Lounge, Underground and the Pyramid. De Groot eventually settled in the United States and never stopped experimenting with sound. In recent years she reinvented Plus Instruments and led the group into new territory.

The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 7 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 7 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music.

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

Ein Doppelalbum, das sich auf die 2012 mit 45 7" Singles erschienene Box-Set Compilation "Eccentric Soul: Omnibus" bezieht und zusammenfasst. "Minibus" versammelt 25 dieser Songs aus der amerikanischen Soul-Diaspora und verbindet die Punkte zwischen dem Harmony Group Sound, Funk, Disco und modernem Soul, 1966-1980. Deluxe Klappcover mit zahlreichen Notizen und Fotos illustriert.

Tickled Pink Glass Vinyl. Ein Doppelalbum, das sich auf die 2012 mit 45 7" Singles erschienene Box-Set Compilation "Eccentric Soul: Omnibus" bezieht und zusammenfasst. "Minibus" versammelt 25 dieser Songs aus der amerikanischen Soul-Diaspora und verbindet die Punkte zwischen dem Harmony Group Sound, Funk, Disco und modernem Soul, 1966-1980. Deluxe Klappcover mit zahlreichen Notizen und Fotos illustriert.

Winston Hytwr is a co-release presented by K and Perennial. Born in Columbus, Ohio in March 1993, Winston Hightower is a prolific home recording artist with an expansive discography that crawls across space and genre. A staple in the Midwestern punk/DIY scene, his first work under the eponymous moniker was a self-released tape in January 2015. Since then, he has put out over 100 songs on tape, online and on video. The music defies easy categorization, and instead breezes through a landscape of synths that effortlessly blend pop, rock, rap and jazz. In doing so, Hightower continues to build a cohesive, ever-morphing experiment in pushing the boundaries of underground guitar music, all with his signature wit and charm. This body of work is almost entirely written and recorded alone in his room, causing many to refer to him as `the Black R Stevie Moore,' a fitting epithet as his influences likewise include modern "lo-fi" progenitors such as Guided by Voices and Vivian Girls. Hightower has released much of his own work and more on his tape label, the FAH-Q Catalog, which boasts over 12 releases He has also collaborated with numerous other Ohio legends such as members of Times New Viking, Slant 6, and Ron House. Both mysterious and effervescent, Winston shape shifts into roles that have also included pro skater (UNITY, Adidas) and touring hardcore guitarist/bassist (most recently with the groups Minority Threat and Twompsax). With such an extensive pedigree, and having toured ceaselessly since he was a teenager, it's shocking that Winston Hightower is largely unknown outside of the Midwest. K records is thus thrilled to be putting out his first ever record, "Winston Hytwr" KLP292/PRNL50 which will cull songs from his previous and impossible to find releases. Remixed by Capt. Tripps Ballsington and Remastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the International Pop Underground. 1000 vinyl copies.

Co-founded by Detroit natives Rahill Jamalifard and Lenny Lynch, Habibi got its start in Brooklyn in 2011, earning early raves every- where from Pitchfork and NME to All Things Considered and The New Yorker, who praised the band for infusing “the Colgate-white glisten of sixties-girl-group pop with an uncensored edge.” Dreamachine, Habibi’s mesmerizing new record releasing on Kill Rock Stars, marks a major sonic evolution for the band, rising beyond the critically acclaimed five-piece’s garage rock roots to arrive at a singular swirl of analog and digital elements that underpin their search for spiritual and physical transcendence. Produced by Tyler Love and longtime collaborator Jay Heiselmann and featuring MGMT multi-instrumentalist James Richard-son, the collection draws on a mix of post-punk, experimental pop, and vintage disco, calling to mind Tom Verlaine, Diana Ross, Kate Bush, and Kim Deal, all filtered through the band’s shared love of Middle Eastern psych music. The songs here are their own distinct worlds, each an immersive quest in pursuit of something greater, and the band’s performances are relentless and hypnotic to match, driven by lush synthesizers, sinewy guitars, and a muscular rhythm section. The result is a record as fearless as it is enthralling, an alternatingly fierce and joyous work that ascends to new heights as it reckons with desire and escape, love and surrender, rebellion and reality.

1966 soundtrack from Ennio Morricone Pressed on Transparent Green Vinyl & includes a 30x30cm insert First ever release of four tracks on vinyl! “Come imparai ad amare le donne” (How I learned to love women) is a 1966 romantic comedy directed by Luciano Salce; the cast includes internationally renowned actors such as Anita Ekberg, Michèle Mercier and Robert Hoffman, as well as a very young Romina Power who was only 14 years old at the time. The beginning of the artistic collaboration between Ennio Morricone and Salce dates back to 1961, with one of the Maestro’s very first soundtracks, “Il federale” (The Fascist); the partnership then continued with “La voglia matta” (Crazy Desire), “La cuccagna” (A Girl… and a Million), “Le monachine” (The Little Nuns), “Slalom”, “El Greco” and, finally, “Come imparai ad amare le donne”.

For this film, Ennio Morricone composed a soundtrack that is a true hymn to love, with an elegant and refined atmosphere led by the beat ballad “Pioggia sul tuo viso” performed by the English group The Sorrows, and by various romantic themes such as “La diva”, “La donna gattina” and “La donna romantica” that alternate with classical compositions such as “Alta moda” and “Alla corte di Luigi Xvi”. The love theme returns in a danceable version in the opening credits.

Originally released in 1966 and reissued in 1985, this soundtrack is finally reissued on clear green vinyl LP with a new artwork and a 30x30cm insert. In addition, four tracks are here released on vinyl for the first time. Liner notes and audio remastered by Claudio Fuiano.

Through his project Lionlimb, New York based singer/songwriter/producer Stewart Bronaugh crafts unfurling soundscapes that feel mysterious and otherworldly, yet timeless and nostalgic at the same time. He presents his most ambitious vision of these inner vistas on his new album, Limbo, arriving May 24th on Bayonet Records. Inspired by a palette of '70s Italian film soundtracks, '60s girl group music, and funk and soul ballads, Bronaugh brings these influences together to invent an immersive sound all his own-with help from close collaborator Joshua Jaeger, whose live drums bring a rawness to Limbo's meticulously layered production. Led by the smoldering single "Dream of You," featuring Angel Olsen, Limbo taps into universal themes of romance, longing, and loss, while still offering a hazy escape from our present reality. Bronaugh penned the songs with "classic" songwriting in mind, transforming his personal struggles with grief and addiction into love songs. Using images inspired by nature (like the sun, moonlight, hurricanes, and deep water), he expresses being overtaken by a force greater than himself, as the psychedelic production evokes a sense of being plunged into this vast landscape. Limbo benefits from its eclectic influences, as Bronaugh overlays sitar-sounding guitar on top of funky basslines, melodramatic string arrangements, and fuzzed out guitar, making for music that could easily belong on Twin Peaks just as much as a Western cowboy film. An album of duets, Limbo features a host of female vocalists-Angel Olsen, Ewa Synowiec, to Bion augil, nderstad ocal periora ne Bill bout vocal sad ate another instrument* he explains. "When we first tried to have someone else sing, I liked it, because I felt more akin to a producer than a songwriter." There's a dreamy quality to how these singers trade off with Bronaugh, both parties expressing his inner emotions. Limbo is a culmination of Bronaugh's years of production experience, as he composed, produced, and mixed the project almost entirely by himself, with additional recording from Robin Eaton. Always inspired to make bold and experimental choices that capture his instincts in the moment, Bronaugh's production style is informed by "wanting to do the weird thing that engineers wouldn't approve of," as he describes it. "My favorite part of making music is the mistakes."

Recording technology was completely revolutionized in the 80s by the multitrack recorder, with the popularity of 24-channel SSL consoles sweeping the world. Japanese pop music created during this wave of digital improvement is now recognized worldwide as ""City Pop."" Techno Pop was another offshoot born of the same revolution. Precise, computer-controlled beats produced by groups like Yellow Magic Orchestra (YMO) introduced a different type of sound to the masses. By now, these works have been brought into the international limelight and continue to be a major influence on today's music.

At the center of Tokyo’s Techno Pop scene was ALFA/YEN Records. The label left behind an impressive body of work, but much of it wasn't made widely available... until now! This new, definitive compilation focuses on the music archives of the YEN Records catalog, available for the first time exclusively at Light in the Attic. This is a true celebration of Japan's Techno Pop scene of the 80s, reissued with the intent that future generations, internationally, will be able to discover, enjoy, and appreciate ALFA/YEN and its significant contributions to the sonic landscape of the 80s and beyond.

Sam Cooke’s SAR Records Story 1959-1965 gathers significant recordings of SAR Records – the label Sam Cooke co-founded, produced the majority of records for and was instrumental in operating. Groundbreaking artists such as The Soul Stirrers, Johnnie Taylor, Billy Preston, and Bobby Womack’s group The Valentinos are all featured, in addition to Sam himself. “The whole SAR Records Story is infused with Sam Cooke’s rapturous sense of how sacred gospel and sexual soul flow together, unbroken,” stated Milo Miles on NPR’s Fresh Air upon the set’s initial release almost three decades ago. In an era where black-owned labels were a rarity, Los Angeles based SAR Records was founded at almost exactly the same time as Motown, its Detroit counterpart. SAR was established in 1959 by Sam Cooke, music publisher J.W. Alexander, and S. Roy Crain, Cooke’s road manager and founder of gospel group The Soul Stirrers. The acronymous name standing for Sam Alex Roy, SAR sought to keep gospel music alive while simultaneously crossing over to pop audiences in the secular world. LPs 1 and 2 of the set focus on the former, while LPs 3 and 4 encompass the latter. From choosing talent, to writing a great number of songs, to producing, SAR was entirely the fulfillment of Cooke’s vision on a musical/creative level. The superstar singer, who had already crossed over from the gospel world himself, tirelessly coached the vocalists during SAR recording sessions, emphasizing diction. His methods are heard throughout the collection, as he is heard speaking to artists between takes. “And by Sam being there with you and just giving you that special attention, you wanted to give it to him like it was supposed to be. I think that’s what made SAR, SAR. Because he was selling himself through different artists.” – Bobby Womack. VERY LIMITED 1-2 COPIES ONLY PER SHOP

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

"Multi-platinum singer, songwriter and TV personality Alesha Dixon celebrates her debut album Fired Up with a special edition yellow vinyl release. Strictly limited to just 500 copies, the record features UK hit singles “Lipstick” and “Knockdown”.
Alesha shot to fame as founding member of Brit nominated R&B girl group Mis-Teeq, garnering 2 multi-platinum albums and 7 top 10 singles, before embarking on a highly successful solo career. She is currently a judge on the highest rated show on British television, Britain’s Got Talent. Formats; Pink LP, Yellow LP."

"Multi-platinum singer, songwriter and TV personality Alesha Dixon celebrates her debut album Fired Up with a special edition yellow vinyl release. Strictly limited to just 500 copies, the record features UK hit singles “Lipstick” and “Knockdown”.
Alesha shot to fame as founding member of Brit nominated R&B girl group Mis-Teeq, garnering 2 multi-platinum albums and 7 top 10 singles, before embarking on a highly successful solo career. She is currently a judge on the highest rated show on British television, Britain’s Got Talent. Formats; Pink LP, Yellow LP."