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If there’s ever been a way to describe David Allan Coe, it’s got to be his ability to defy categorization. With over six decades of following his musical muse wherever it’s led, this craggy voiced outlaw has crossed the panorama of American roots music. As well as being a singer, guitarist, songwriter, David is also a magician and a ventriloquist, deep sea treasure hunter, and movie star. His movies included Stagecoach, The Last Days Of Frank and Jesse James, Lady Grey, Buckstone County Prison, Take This Job and Shove It, to mention a few. David signed with Sun Records in 1968 and recorded his first album Penitentiary Blues, all songs that David had written in prison. In 1973, Columbia Records bought David’s contract from Sun Records and he recorded his first Columbia album, titled “The Mysterious Rhinestone Cowboy”, several years before Glen Campbell had a hit with the song, “Rhinestone Cowboy.” Much has been written about David’s past and his lifestyle, but not much about his achievements over the years. From performing on Farm Aid to touring with Neil Young, Kid Rock and Willie Nelson. David’s song, “Take This Job and Shove It” has received multi-million airplays certificate from BMI. His “Greatest Hits” album is multi-platinum and his “First Ten Years” album is gold. David has had sixty three songs on the Billboard Singles Charts, including, “Mona Lisa Lost Her Smile”, “The Ride”, “Please Come To Boston”, “Willie, Waylon and Me”, “Jack Daniels If You Please” and “You Never Even Called Me By My Name” to name a few. David has written songs for Johnny Paycheck, Tanya Tucker, George Jones, Willie Nelson, Leon Russell, Charlie Louvin, Del Reeves, Tamy Wynette, Melba Montgomery, Stoney Edwards, The Oak Ridge Boys and Kid Rock. Both “Would You Lay With Me” and “Take This Job and Shove It” are multi- million seller songs penned by David. Johnny Cash has also recorded David’s songs including “Would You Lay With Me” on his chart topping album entitled, Cash. David has been through a lot in his life but has managed to put his past behind him and move forward with his life. This album was recorded in 2001 live from the Iron Horse Saloon in Daytona, Beach Florida and includes the only recorded version of, I’m An Ohio Boy.

Nashville underground trio YAUTJA make their Relapse Records debut with their highly anticipated new album, "The Lurch". YAUTJA's new album amalgamates metal, punk and noise rock into a ferocious hybrid that has propelled them from the obscurity of the American South onto the international stage. Recorded by Scott Evans at the legendary Steve Albini's Electrical Audio studio in Chicago, "The Lurch" marks another step forward for the innovative band. From the opening roar of “A Killing Joke” and the ominous noise waves of “Undesirables” to the churning cannonade of “Before the Foal,” "The Lurch" conveys the personal frustrations and sociopolitical observations of its creators. “We’ve got our bubble of friends and artists and businesses, but you drive 30 minutes out of town and you see rebel flags or people wearing t-shirts that say, ‘Redneck Lives Matter,’” bassist/vocalist Kayhan Vaziri explains. “So there’s a lot of frustration there, and the lyrics pertain to that.” Elsewhere on the album, tracks such as "Tethered" and "Wired Depths," discuss the various technologies and systems in place befalling the great populace. Rampant displacement of local communities fuels Vaziri's opening screams in the track aptly titled “Catastrophic” - “Forced under society!” Featuring members of several other musical projects including Thou, Coliseum, Mutilation Rites and more, YAUTJA's collective experiences across the underground and experimental subgenres drive their unique sound. The band's palpable malaise, malcontent, and sharpened edges are matched by the album's production - the attack of noisy, whirring guitars constantly veering on dissonance are met with a destructive, mangled low end, as they march on to some of the most creative drumming in the genre. "The Lurch" showcases a band that is daring, experimental, and unrelenting.

Henry Cavill (Man of Steel) stars as Napoleon Solo opposite Armie Hammer (The Social Network) as Illya Kuryakin in director Guy Ritchie’s The Man From U.N.C.L.E., a fresh take on the hugely popular 1960s television series.

Ivor Novello-winning and multi-BAFTA nominated composer Daniel Pemberton (known for “The Awakening” and the Sundance Jury winning “Enemies Of The People”) created an exciting soundtrack with relaxing lounge instrumentals full of Jazz and Swing elements. Moreover, the soundtrack contains seven original classics like “Compared To What” by Roberta Flack and “Take Care Of Business” by Nina Simone. Pemberton has also scored countless Emmy, BAFTA, Grierson and RTS winning comedies, documentaries and lifestyle shows and worked with Oscar winning directors and editors.

The Man from U.N.C.L.E. also stars Alicia Vikander (“Anna Karenina”), Elisabeth Debicki (“The Great Gatsby”), with Jared Harris (“Sherlock Holmes: Game of Shadows”) and Hugh Grant as Waverly.

Extended Revelation for the Psychic Weaklings of the Western Civilization is the second album by Swedish rock band The Soundtrack Of Our Lives. Heavily influenced bands from the sixties and seventies such as The Rolling Stones and Iggy and the Stooges, the band became popular in both Europa and the United States. Their fame was partially propelled by their songs being featured on popular video game franchises such as FIFA, NHL and Gran Turismo.

The title of this album comes from the Rolling Stones Records’ release of Brian Jones Presents the Pipes of Pan at Joujouka, where the inside liner notes state that “Western Civilization has made us such Psychic Weaklings”. About 50% of the songs on the album were leftover material from the bands debut album, yet this record sounds far more dark and contains influences from psychedelic music. The album was well received and spawned one single: “Black Star”.

Wipers were a punk rock group formed in Portland, Oregon in 1977 formed by guitarist/songwriter Greg Sage. The group’s tight song structure and use of heavy distortion were hailed as very influential by many critics and musicians alike.

Land of the Lost is the band’s fourth studio album. It was very well received, with Maximum Rocknroll praising the title track for being “heavier and riffier” than the band had ever sounded before. Spin Alternative Record Guide called the album “the most definitive Wipers record for sound and songwriting”.

Land of the Lost remains a highly sought-after album, but now there’s a chance to get a hold of it again. It’s a limited edition of 1000 numbered copies on yellow coloured vinyl.

"Vermintide 2 is a critically lauded first-person co-op action game that sees players smash, bash, and slice their way through the Chaos army and Skaven rat-men. Jesper Kyd (Assassin’s Creed, Borderlands, Hitman) amassed a broad palette of violent percussive sounds in creating his propulsive score. The music leans more towards this hypnotic array of scrapes, cracks, and thumps than it does the orchestral elements traditionally associated with dark fantasy — and is all the more distinct a score for it.

38 tracks (including seven bonus tracks not found on the digital release) have been specially mastered for vinyl, and will be pressed to audiophile-quality, heavyweight 180g discs in ‘Chaos Red’ and ‘Skaven Green’. These will be housed in a deluxe gatefold sleeve, with artwork designed by Fatshark Games, including ‘The Ubersreik Five’ front cover. "

Kurt Wagner's signature brittle baritone is back, but that doesn't mean we're going to get a nostalgic Alt Country album. Showtunes is a continuation of Lambchop's explorations of new sound worlds and opens up another chapter. Each track is an exciting journey with an uncertain destination.

With Showtunes, as he has done so many times throughout his varied and fascinating career, Kurt in late 2019 was experimenting with something new. He took simple guitar tracks and converted them into midi piano tracks. It was a revelation that from those

conversions he was able to manipulate each note and add, subtract, arrange the chords and melody into a form that didn't have any of the limitations he had with his previous methods of writing with a guitar.

Removing these limitations led to a surprising new sound, something akin to showtunes but with edges sanded down and viewed through Kurt's own specific lens. it's a genre he was none too fond of with the exceptions of a few Great American Songbook type of stuff or some of the works of artists like Tom Waits, early Randy Newman or even Gershwin or Carmichael. “I’d always wanted to make songs with a similar feel but my skills were limited until now” says Wagner.

Aufgewachsen in den sanften Hügeln von North Yorkshire mit Künstlern wie Nick Drake, Joni Mitchell, Joan Armatrading und Kate Bush, wurde Martens von der Kritik hochgelobtes Debütalbum ”Writing of Blues and Yellows” im Jahr 2016 veröffentlicht, als sie gerade mal 17 Jahre alt war, und auch der Nachfolger ”Feeding Seahorses By Hand” (2019) wurde ähnlich gelobt. Nun ist Billie Marten mit ihrem dritten Studioalbum ”Flora Fauna” zurück, das gemeinsam mit Rich Cooper in London aufgenommen wurde. Martens
neues Material verbindet die für sie charakteristische, gedämpfte und resonante Stimme mit einem schnellen Puls und einer reichhaltigen Instrumentierung, wobei ihre Inspirationen nun von den Krautrockern Can bis hin zu Broadcast, Arthur Russell und Fiona Apple reichen.
Basierend auf dem minimalistischen akustischen Folk-Fundament, mit dem sie sich einen Namen gemacht hat, ist ”Flora Fauna” ein reiferes, gefühlvolleres Album, das um ein starkes Rückgrat aus Bass und Rhythmus herum aufgebaut ist. Die Songs markieren eine Periode persönlicher Unabhängigkeit für Marten, in der sie gelernt hat, sich selbst zu nähren und sich von giftigen Beziehungen zu lösen - und ein großer Teil davon war die Rückkehr zur Natur: “The name Flora Fauna is like a green bath for my eyes. If the album was a painting, it would look like flora and fauna -it encompasses every organism, every corner of Earth, and a feeling of total abundance.”

‘Sharecropper’s Son’ is a soulful masterpiece and career-defining album
from Robert Finley, “the greatest living soul singer”, written by Finley and
co-written and produced by Dan Auerbach.
With songwriting by Finley, Auerbach, Bobby Wood, and contributions from respected country songwriter Pat McLaughlin, ‘Sharecropper’s Son’ also features
an all-star band, who have worked with everyone from Elvis to Wilson Pickett,
including guitar expertise from Auerbach himself.
Recorded at Easy Eye Sound studio in Nashville, Finley’s formidable vocals and
lyrical stylings take centre stage, sharing personal stories inspired by his Louisiana country childhood during the Jim Crow era south. His tales of pain and joy
uplift as Finley reflects on his belief that you are never too young to dream and
never too old to live.
The fire behind the conflagrant performances on ‘Sharecropper’s Son’ is ignited by 67 year old Finley, who has cited a range of vocal influences, including
Al Green, Jimi Hendrix, Ray Charles, Elvis, James Brown and The Beatles, all
inspiring his genre diverse approach. Finley stated, “I want people to understand that I can’t be kept in a box. I like to do all kinds of music - everything that
means anything to me, from gospel to blues to soul to country to rock ‘n’ roll.”
“A blind carpenter and army vet is revealed, belatedly, to be a herculean soulman.” – UNCUT

Since her crowning in 2009 at the Blues sur Seine Festival, the young guitar prodigy Nina Attal, with a powerful soul voice, has imposed herself to the public, recording 2 EPs, 3 albums and performing more
than 600 concerts.
‘Pieces of Soul’, is Attal’s fourth album and shows her return to the blues, rhythm ‘n’ blues and rock. Written and composed in the wake of a road trip on the West Coast of the United States, ‘Pieces of Soul’ is eagerly awaited.
These 12 tracks, to which is added a cover of “You’re No Good” popularized by Linda Ronstadt, put the guitar back at the heart of her creative process, through a range of sunny sounds, discreetly and respectfully tinted by various Californian influences (Ben Harper, Lenny Kravitz, John Mayer...).
The riffs with rock distortions are next to great blues-soul ballads, folk, or rhythm ‘n’ blues. Her lyrics, very personal, translate as many doubts as to her desire for emancipation. Inspired by her incompressible love for the music she has in her skin, just like her tattoos, ‘Pieces of Soul’ undoubtedly offers Nina Attal a new dimension.

A bouquet of rigid electronic and electro-acoustic mouvements by Uli Rehberg, also known for his label "Walter Ulbricht Schallfolien", his former record store "Unterm Durchschnitt" & (probably) his work with "Werkbund". Printed as red vinyl in an edition of 300 numbered copies

MELT BANANA'S TEENY SHINY LP GETS REPRESSED FOR THE FIRST TIME IN AGES ON VINYL. THIS PRESSING ONLY WIL LBE A BLUEY/GREY VINYL They are headlining the Raw Power festival in london at the end of may.

Davide disanto is an amazing Italian producer born in bari, after multiple releases on excellent labels such as Let's play house, Politics of dancing or even Theory of swing, he delivers us a fabulous 12 inch which borrows as much from the heyday of the purest New-York City 90s deep house as well as the purest techno made in detroit. The 1st track from this EP seems to have come straight from an imaginary collaboration between Boo williams & Ron trent, the violence of the rhythm is counterbalanced by some airy & ultra deep pads, the aptly named Atmosfear. A banger as we rarely hear today. C'Mon, Let Me See on A2 sounds like a modern take on the awesome Jerzzey boy. On the B side, Da Love Feeling (Main Mix) & le (4am Underground Dub) revisits the 90s once again for our greatest pleasure, particularly the latter seems to have come straight out of a lost mix of the great danny tenaglia. And to end this ep in style, davide allows himself the luxury of summoning the spirit of MBG and all the best Italian deep house from the early 90s on the superb Lungomare (Ambient Reprise). ESSENTIAL ITEM !

SKYLAX RECORDS 4 EVER

Deep spiritual jazz recorded in Germany, performed by Jamaican born saxophone player Fitz Gore and his international group The Talismen, featuring a.o. bassist Gérard Ebbo from Morocco and drummer Philippe Zobda-Quitman from Martinique. This is the first reissue of their second album, released in 1976 by the small private label GorBra from Bonn, including "Delilah" and "Requiem For Julian Cannonball Adderley". The rare LP comes in a newly mastered version with original cover design and sleeve notes. Fitz Gore's music is full of tremendous tension and movement between deep seriousness, inwardness and humility; it affects your life, it liberates and heals.

Original sleeve notes from 1976:

"Soundmagnificat" is the successor to "Soundnitia" (GorBra Records F 665 532), the first release from the Talismen, an international group with Jamaican Tenor saxophonist Fitz Gore (born1935) as founder, spiritual and musical leader, main soloist. "Soundnitia" contained concert performances of June, 1975, including compositions by John Coltrane, Horace Silver and one by Gérard "Prof. Dr. Splüm" Ebbo, bassist of the Talismen.

This second offering from the Talismen is more varied. It has four tracks recorded at four different occasions. It presents Fitz Gore as a singer, a composer, as well as, a tenor saxophonist. The opener, Requiem for Julian "Cannonball" Adderley, is a moving tribute to a great American artist, the late alto saxophonist "Cannonball" Adderley. On this track, Hungarian drummer Janos Sudy is heard with the Talismen, for the first time. The playing by the quartet on this slow lament very adequately illustrates the mood of the composition

For the next piece, a concert performance, Gore selected a gem from the American Negro Song Tradition and he displays a mighty, masculine and soulful voice in Steal Away. An example of a modern artist using an old traditional to express his own inner feelings. Delilah is taken from another concert performance, the same concert as the music on "Soundnitia". It has extensive playing by Gore, a bass solo by Gérard Ebbo, leading into some exciting conga playing by Lamont Hampton.

The final track, A Sinner Kissed An Angel, was recorded by another tenor player, Wardell Gray, in 1950, but this version is all Gore's. After the piano introduction, Gore delivers the melody with authority and with an expressive use especially of the high register of his instrument. In his improvisation, Gore's playing becomes more dissonant. Some of his playing here causes me to think of the way the late Albert Ayler sounded on his first recordings done in Sweden, in the beginning of the 60s. No drums here, but nice accompaniment and solo work of Jochen Paul on vibes.

I met Fitz Gore in Copenhagen in the fall of 1975. We were both listening to the trumpet playing of Harry "Sweets" Edison at the now defunct Café Montmartre. Prior to that time, I did not know Gore and his music, but listening to his playing on this album and the earlier one, has once more widened my musical horizon. His music has struck some chords within me. "Music is communication", John Coltrane once said. I feel sure that as you listen to the music of Fitz Gore and his Talismen, you will get the message.

In these notes, I have mentioned a couple of jazz artists and another one ought to be named primarily, because he has meant a lot to Gore: Sonny Rollins. The two met in Paris in 1966. Gore says of Rollins: "He openend my eyes ...big man … phenomenon … my man". As Sonny Rollins's artistry, the music of Fitz Gore holds many aspects, some being aggressive and even hysterical, others being those of beauty and peace. As life itself … (Roland Baggenaes, June 1976)

The music of Fitz Gore, rooted in the blues, is full of tremendous tension and movement between deep seriousness, inwardness, humility and humor, hardness and tenderness; it affects your life, it liberates and heals - a hopeful, a truly groundbreaking, a timeless, a new music - Newsic!
(Gisela Braasch, 1976)

In memory of Fitz Gore.
Mastered 2020 by Roskow Kretschmann at Audiomoto,
kindly supported by Tom Sky. Vinyl cut at SST.
Producer for reissue: Ekkehart Fleischhammer,
reproduction of original cover design by Gisela Gore:
Patrick Haase aka rab.bit.

AEGEAN is the first offering by Argentine producer and Leipzig resident Accanto. His approach to mid tempo electronica is very rich in organic textures and deep atmospherics. The opening track Sentimental Sediments sounds deep, raw and dubby, a great opener for any set. Bokanovsky picks up the pace and brings in the sunshine uplifting vibes, while the title track Aegean completes the package with an exquisite progressive anthem that makes good use of a bass arpeggio to create a driving groove that will surely lift dancefloors to Cosmic dimentions. A must for Balearic lovers and adult ravers.
ACCANTO is Jorge Bonadeo Miguens, a young Argentine producer residing in Leipzig. Born in 1990 in the city of Buenos Aires, his relationship with music started at an early age while digging the cassettes of his older brothers. At the age of 13 he started playing bass guitar in a rock band with friends, with which he played
in several halls and bars, as well as recorded a studio album.
Around 2012 Jorge got into the electronic music scene of Buenos Aires. After years of traveling and getting immersed in the scenes of his city, Sydney and Europe, he settled in Barcelona and started producing, while also performing as DJ. Nowadays based in Germany, and after years of self knowledge and learning, he felt ready to share his music with the world.

Nick Lapien and Robin Koek's latest collaborative album, Days Bygone, helps launch Delsin's Interstellar Series as they continue to explore beyond the dancefloor trappings of conventional techno to create a body of work steeped in mystery. Although not totally devoid of percussion, Artefakt shift their focus away from dominant drums and lean on the keys and pads to map out the landscape each track traverses. Sometimes furtive and suggestive, elsewhere pearlescent and diffused across great expanses, it's these striking, sublime formations which define the atmosphere Lapien and Koek have created - a textured, dynamic exercise in techno as internalized listening music.

Having already explored the archives of a number of overlooked Greek composers, Into The Light is now turning its attention to the uncharted territory of Greek film soundtracks of the 70s and 80s - a boom period for mystical, transcendental arthouse cinema in Greece.

GOST: A Spiritual Exploration into Greek Soundtracks (1975-1989) is a passion project from the Greek filmmaker and composer Yannis Veslemes, that took years of engagement, exhaustive research and persistence. The collection features a mixture of rare, hard-to-find and previously unreleased material from musicians and composers including Yannis Kostidakis, Thesia, Dimitris Papadimitriou, Michalis Christodoulides, Stamatis Spanoudakis, Haris Xanthoudakis, Vangelis Katsoulis and Charlotte Van Gelder . All material is accompanied by detailed linear notes from the curator Veslemes, explaining the stories behind the tracks and the movies they first featured on.

The compilation celebrates the inventiveness and experimentation of Greek soundtrack composers in the ‘70s and ‘80s, by presenting a surprising mixture of musical hybrids that bridge the worlds of electronic and acoustic music, and compositions that bring together Western and Eastern musical traditions, in uniquely idiosyncratic ways.

Lux' is what we use to measure the intensity of light as we perceive it, when it's hitting or passing through a surface.

The first track, that gives the EP its name, embodies exactly that - the fluctuating, ever-changing nature of light; from fragile and fleeting to overwhelming and powerful. 'Lux' kicks off with warm synths creeping in, like rays of sunlight breaking through the clouds. Dreamy crescendos take you for a ride and build up until they melt into a comforting blanket of piano chords, accompanied by a propelling hi-hat pattern that will make you want to move. The track is hopeful, the start of a journey, with compelling break downs, industrial rhythm elements and powerful build-ups such as the one to the final section, dominated entirely by its fusion between techno-beat and dance-feel.

Next up is 'Odyssee'. An unapologetic track that picks up the pace. Kicking off boldly with harmonic tension and enticing drum sounds, it's hard not to surrender to the rich and fast-moving soundscape. Proud drums meet steel sounds and tentative piano figures, all glued together by the driving beat, determined to get to the next stop of this lifelong voyage. Striking accents, in the form of short-lived breaths or staccato bass lines take you through a labyrinth of growing gritty synths. A track that easily leads you through space and time and makes it feel like the most natural thing in the world. We're greeted with standalone bright and sparkly synth movements as 'Phoenix' rises and wraps us in warmth. Gently, like raindrops, a rhythmic pattern starts dripping in. Definition, like in many of his other works, blends rhythmical sounds that couldn't be more different into one, making them sound like they were never meant to exist unless next to each other. The track is a symbiosis of modern and classical sounds, lets us bathe in analogue warmth but always rolls along with digital precision.

'Phoenix' starts softly and ends in roaring flames: in a repetitively enchanting party, fabricated out of dark, pumping beats and gritty synths. 'Raven', the final of the four tracks and the lead single (released alongside the Jonas Ratshman remix just 1 week ago), intrigues with chants and empowerment just as much as with its determination and fragility. Falling from the highest heights, Raven lets you rediscover who you are when you hit the ground. Carried by a throbbing four-on-the-floor kick drum and covered in a synth-haze that is hard to resist, you'll float along, fall and rise with the everlasting wave-like movement of human existence.

Summertime: Willie Nelson Sings Gershwin includes pop standards penned by
America’s legendary songwriting duo George and Ira Gershwin.

As Willie tells it: “Ira and George Gershwin were just fantastic writers. They wrote some of the greatest songs ever. The Gershwin songs have been here for many, many years. When I was just a small guy, I remember hearing all these great Gershwin songs and they’ll be around forever because great music like that just does not go away.”

Among the 11 Gershwin classics recorded by Willie Nelson for the album are two duets: “Let’s Call The Whole Thing Off” with Cyndi Lauper and “Embraceable You” with Sheryl Crow.

Summertime: Willie Nelson Sings Gershwin debuted at number one on the Traditional Jazz and Top Jazz Albums Billboard charts, becoming Nelson’s third album to top the latter. Meanwhile, it reached number fourteen in Top Album Sales and reached number forty in the Billboard 200.

Now available as a limited edition of 1000 numbered copies on transparent red vinyl, including an insert + Willie Nelson on Music On Vinyl catalogue insert.

Neutral’s seminal album, Grå Våg Gamlestaden, is widely
considered ground zero for the explosion of creativity that has
transpired in the Swedish Underground ever since. It is the noisy
experimental rock album that opened the door and welcomed in
so many artists working behind the scenes. Gothenburgers Dan
Johansson (Sewer Election) and Sofie Herner had previously
made music together in the band Källarbarnen when they started
discussing a new methodology and a fresh sound for recordings
in 2013 under a new name as a duo.
After witnessing Herner and Johansson’s live performance in
an artist’s studio in the spring 2014, Gustaf Dicksson, who was
running the Omlott record label at the time as well as performing
under his own moniker, Blod, offered to release an album by
Neutral on the spot.
Herner recorded most of the instruments and voice, Johansson
worked on manipulating the recordings, experimenting with
reel-to-reel techniques. The title of the album translates as “Grey
Wave Gamlestaden” and was chosen as an inside joke about the
neighbourhood Gamlestaden where Johansson and Herner lived.
A major theme on the recording is a certain kind of bleakness
but with a wry smile closely identified with the spirit of the
neighborhood.
In the fall of 2014 Grå Våg Gamlestaden was released,
limited to 200 copies, and sold out quickly without many copies
making it outside of Sweden. Around the same time, Johansson
and Herner joined forces with other underground artists in their
widening circle to form a sort of Gothenburg supergroup making
music together as Enhet för Fri Musik.
Grapefruit’s reissue of Grå Våg Gamlestaden is the first time
Neutral’s masterpiece has seen the light of day since it sold out
quickly in 2014. This vinyl-only gatefold reissue is limited to
300 copies.

Canadian bassist/vocalist Neil Merryweather relocated to Los Angeles in the late 1960s and hooked up with the singer, actress and future Penthouse pet, Lynn Carey. They would find greater fame upon forming the band Mama Lion in 1972, but Vacuum Cleaner captures th prototype of the group on this collaboration cut the year before, after RCA signed them as a duo. Merryweather’s bass is a solid anchor and his harmony and musical arrangements help keep everything in place; Canadian keyboardist JJ Velker adds atmosphere, but it is Carey’ powerful voice that really drives this hard rockin’ beast, gleaning comparisons with Janis Joplin. Merryweather & Carey notably appeared in Russ Meyer’s The Seven Minutes too.

Ubisoft and Laced Records have joined forces to create a special double soundtrack vinyl in celebration of the fifth anniversary of Tom Clancy’s Rainbow Six Siege.

Before there was PUBG and Fortnite, tactical multiplayer shooter Siege enjoyed a quiet launch in mid-2015. The tense Attackers versus Defenders break-and-clear gameplay saw players doing as much tactical planning in advance as reactive shooting in the moment. Thanks to rock solid gameplay, consistent developer support and a rabid core fanbase, the game grew and grew to become one of the most popular shooters in the world with 10s of millions of players and a thriving esports scene.

Initial lead composers Paul Haslinger (formerly of Tangerine Dream) and Ben Frost (TV show Dark) delivered a taught and atmospheric electronic score for the game on launch. They were later joined by Jon Opstad, Will Bates and Danny Cocke, who contributed score music for the five subsequent years of content.

Pioneers of the British music scene, ‘Blackest Blue’ will be the band's 10th studio album in a discography that spans three decades. 2020 saw Morcheeba unable to tour or perform live, which gave Skye Edwards & Ross Godfrey “time to write songs and really get to hone them,” as Godfrey puts it. “There weren’t so many pressures so we could really take our time getting the songs right,” adds Edwards.

The result of this time is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop & soul - into one cohesive record that dives deep into the soul of the band’s genre-mashing musical heritage. As usual, the band didn’t approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba.

Edwards’ lyrics are primarily focused on positivity and overcoming personal adversity that lies within. ‘Sounds Of Blue’, is a stunning cut that puts Skye Edward's sultry vocals to the forefront, floating high above an ethereal backdrop.

The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). “

Morcheeba’s global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name. The past year has been one of introspection for the duo, as they take stock of their renewed global fan base and look forward to being able to play the new album live in the not too distant future. “This was the first time since I was a teenager that I’d spent a year off the road and I enjoyed the tranquility, although I missed playing my guitar in far off lands,” says Godfrey.

Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era’s velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active—from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even—from swing and bebop, to free and Afrofuturist. The performances on Impulse Records: Music, Message and the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance: the promise still deferred, the message still on time.

Backed by members of the David Nance Group, Rosali (Long Hots, Wandering Shade, Monocot) wades through the emotional mire with infectious, earworm melodies led by her luminous voice. With their rich, raw instrumentation, these rock ballads sound like the resilience discovered in facing one’s darkest moments, the assurance of the calm and clarity that comes after the storm. As she sings on the second track, “Bones,” “Through the darkness of the field / I walk through without yielding / To the rest of the feelings / I’m carrying.” With her confident song craft, Rosali illustrates the ability to push through, moving toward something greater without being destroyed by the weight of trauma.

Engineered by James Shroeder and featuring Kevin Donahue (Simon Joyner), James Shroeder (Simon Joyner, DNG, Connor Oberst), David Nance, Noah Sterba, Colin Duckworth, and Daniel Knapp, the album was recorded in ten days and the raw immediacy of the music is palpable across these ten tracks. Added adornment was contributed by Philadelphia's Robbie Bennett (War on Drugs) on organ and keys, and Matt Barrick (The Walkmen, Jonathan Fire Eater, Muzz) makes a percussion cameo on “Whisper,”which was tracked at Philly’s Silent Partner Studio, where No Medium was mixed by Quentin Stoltzfus (Mazarin, Light Heat). The open creative collaboration elevated the songs, resulting in the exciting, vibrant sound of the album.

Rosali wrote the bulk of these songs in January of 2019 while on a self-imposed two week residency in the hills of South Carolina. Alone in an old farmhouse, she experienced supernatural events and faced her own demons in the deepest darkness. Perhaps as a result, there is a boldness that permeates the album, a daring vulnerability in both the lyrical themes and their musical accompaniment. Rosali says, “I approach guitar playing the same intuitive way I sing, which is profoundly spiritual for me. Where words fail, the guitar becomes the conduit for raw feelings, providing a direct connection to them. I’m constantly working on being fearless in my work, which means showing the rough side, the mistakes along with the triumphs.”

While writing No Medium, Rosali was inspired by harmonographs—swinging pendulums that create beautiful illustrations of the mathematics of music—considering how the mind, too, creates images through song. She imagined herself as the swinging pendulum—“a body suspended from a fixed point” (Encyclopedia Britannica), governed by the forces surrounding her. She thought about the pendulum’s relationship to time, movement, and even its use in divination practices. The album’s title, lifted from Charlotte Brontë’s, Jane Eyre, resonated with this vision: “I know no medium: I never in my life have known any medium in my dealings with positive, hard characters, antagonistic to my own, between absolute submission and determined revolt. I have always faithfully observed the one, up to the very moment of bursting, sometimes with volcanic vehemence, into the other.” With the multiple meanings of “medium”—as middle ground, a term for psychics, and as the material of artistic expression—No Medium felt like the appropriate name, describing how the self is shaped by the patterns of life .

The influences for the sound of No Medium reflect this pairing of assured vulnerability, in the stylistic coherence of Bob Dylan’s Desire, the tender delivery in Iain Matthews’ Journey From Gospel Oak, the strut and swagger of Bowie’s Hunky Dory, the ambition and beauty of Gene Clark’s No Other, and the playful catharsis of Harry Nilsson’s Nilsson Schmilsson. The Richard and Linda Thompson-esque album opener “Mouth,” places Rosali within both a physical and emotional space. “East of the river I was travelling on / watch me lie, undone / rest me in a forest, overgrown / until I am free of all that I’ve known,” she sings. There is movement, both within a cityscape, and in her outlook on love. Speaking of her thought process when writing the song, she says, “I imagine confidently walking away from the past, toward a new approach to love and intimacy to achieve a closer relationship with myself.”

In “Pour Over Ice,” Rosali explores her relationship with alcohol and her former reliance upon it as a social lubricant to quell her social anxiety, an energizer to keep moving, a means to cope and self-medicate, and most addictively, to lure out her wild side as a free flowing, good time girl. While drinking helped her through some shitty times, it eventually got the upper hand and became an insatiable hole within. She says, “The ‘you’ in the song is really me, talking to that component of myself struggling with drinking and self-sabotage, caught up in the cycle, and all the bad choices I made.” She sings, “Maybe I didn’t care enough / or can’t remember / chasing small pleasures / making fire from embers.” Rosali wanted her lead guitar on this track to simultaneously sound like a slow motion car crash propelling her through the day, and the sound of a gnawing hunger for something more.

Rosali’s alliance with the Omaha musicians that orbit David Nance Group (including Nance himself) came about while on a Long Hots / DNG tour in the summer of 2019. Great friendships formed and one night after playing in Detroit, Dave suggested they be her backing band. The pairing was effortless and natural, and in November of the same year, they were recording No Medium in a basement in Omaha.

Das in Texas ansässige Duo Balmorhea ist mit neuer Musik zurück! Nach einer intensiven fünfjährigen
Tournee-Phase haben die beiden Gründer von Balmorhea, Rob Lowe und Michael A. Mulle, eine Pause vom
Touren genutzt, um wieder gemeinsam zu improvisieren und zu experimentieren. Ihr neues Album The
Wind, inspiriert von Meditationen über die natürliche Welt und ihre Zerbrechlichkeit, einer alten Geschichte
über einen Heiligen, der den Wind in ein luftleeres französisches Tal trug, und Gedanken der Klimaaktivistin
Greta Thunberg, die den Atlantik auf dem Katamaran La Vagabonde überquerte, zeichnet eine Reise durch
eine beschwörende Klanglandschaft, die von Echos von Gebetsfahnen, die in einer Himalaya-Brise flattern,
einem alten Harmonium, einer Pfeifenorgel, einem Trio von Kontrabässen, Windspielen und betörenden
Gitarren- und Klavierinstrumenten berührt wird. The Wind markiert sowohl eine Rückkehr zu Balmorheas
ursprünglicher Konstellation als Duo als auch einen Neuanfang als ihr erstes Album, das bei der Deutschen
Grammophon veröffentlicht wird.

Blod is the solo project of Gustaf Dicksson (Enhet För
Fri Musik, Oroskällan), a prolific and crucial figure in the
Swedish Underground scene radiating out of Gothenburg
and centered around a number of independent labels and
including bands such as Enhet För Fri Musik, Monokultur,
Oroskällan, Loopsel, and Neutral. Blod has released
various home-recorded cassettes and a handful of albums
since 2014, all mercurial in nature, exploring various facets
of Dicksson’s preoccupations. The melodies borrow from
tradition and possess a lonesome quality inspired by
Swedish melancholy, close relations, and white trash
culture. Combined with intentionally banal artwork, the
experience can be beguiling and sometimes bleak but at the
same time warm and humorous.
Missväxt is Dicksson’s greatest work yet, exploring the
myth of ancient Swedish being and misery but with a sound
that is uniquely ecstatic. Inspired by medieval folk music,
it’s reminiscent of Fairport Convention’s marriage of traditional
folk music and psychedelic rock.
Missväxt features guest appearances by Elin Engström
(Loopsel, Monokultur) on drums, Astrid Øster Mortensen
on vocals and flute, Joakim Karlsson (Facit) on production
and synth, and Magnus Jäverling on flute.

Osaka-born and New York-based pianist Erika Dohi is a multi-faceted
artist with an eclectic musical background. From highly polished
raditional classical to bold improvisation, she is a dynamic performer
whose timeless style and unidiomatic technique sets her apart in
contemporary NYC avant-garde circles.
Dohi’s vast repertory is impressive but what makes her truly such a
barrier-defying artist is what lies ahead. ‘I, Castorpollux’, Dohi’s debut
solo album, is a profound personal excavation set to a gripping
andscape of wild, genre-fluid composition, a virtuosic but emotionally
generous convergence of the technical and the spiritual. With
understated piano and keyboards at its centre, ‘I, Castorpollux’ is
equal parts hazy nostalgia, science-fiction soundtrack and
electroacoustic experimentation.
The project features contributions from Channy Leaneagh (Polica),
Andy Akiho and Immanuel Wilkins, among others, and is produced by
William Brittelle.
The central theme to the album is the ‘split-self’ and variable
perceptions of time that Dohi has faced at formative moments in her
ife. She experienced the 1995 Kobe earthquake at age 7. Hiding
under a table during the worst of it, she later emerged to find the
world around her crumbled. In her immediate vicinity, a fixture of her
childhood remained standing. The Tower of the Sun, a type of three
aced time machine itself from Expo 70, designed by artist Taro
Okamoto, is a trail-marker on Erika’s journey, a stand-in sigil to
unlock the mysterious sounds of her work, with 70s synths and retro
sci-fi aesthetics permeating the album’s narratives.
Much of the album was written while living in Texas where the split
between her Asian self and the idea of being an American
necessitated a near mountain of self-discovery to reconcile how she
elt and who she was within the social backdrop of a strongly
conservative environment. It is no wonder that the character of the
Dioscuri, Castor and Pollux from Greek and Roman mythology
esonate so deeply with her, or Haruki Murakami’s Two Moons and
heir strange light.
From her contributions to various projects and her participation in the
Artist in Residency collaborations, Erika has become a staple of the
37d03d community.

“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.

“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.

John Carpenter, the Legendary Director and Composer behind Halloween, Escape From New York, They Live, Assault on Precinct 13 and many more announces his debut solo album ‘Lost Themes’ out February 3rd on Sacred Bones Records. In anticipation of his debut release, Carpenter shares a new track “Vortex,” a custom-designed video for “Vortex” set to clips from different Carpenter films and the full album artwork and track list.

John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes that drive them can be stripped to a few coldly repeating notes, take on the electrifying thunder of a rock concert, or submerge themselves into exotic, unholy miasmas. It’s work that instantly floods his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fufighters, or a mirror holding the gateway to hell. Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

“Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No

release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who scored I, Frankenstein) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

This first volume of Wagram's Wanted: Jazz series is a high quality mix of the great Jazz artists. Including Charles Mingus, Dizzy Gilespie, Art Blakey and more!

Black heavyweight vinyl pressing The third album / first live album from the British rock band, Dr. Feelgood.
Originally released in 1976, it was the first live album to ever hit number 1 on the UK charts in its first week.
Stupidity captures the relentless, hard-driving energy of Dr. Feelgood at their peak. Comprised of recordings taken from 1975 tours, the music is presented raw and without overdubs, making it clear that the dynamic friction between guitarist Wilko Johnson and vocalist Lee Brilleaux could propel the band toward greatness

Das von der Kritik gefeierte Comeback-Album der Go-Go’s aus dem Jahr 2001, ”God Bless The Go-Go’s”,
feiert sein 20-jähriges Jubiläum und erscheint neu aufgelegt in CD und Digitalformaten sowie erstmals als
blaue 140g Vinyl.
Die Deluxe-CD und die digitalen Versionen enthalten ein neues Cover und die Bonustracks ”I Think I
Need Sleep“ und ”King of Confusion.”
Mit Charlotte Caffey (Leadgitarre, Keyboards, Gesang), Belinda Carlisle (Leadgesang), Gina Schock (Schlagzeug,
Percussion, Gesang), Kathy Valentine (Bassgitarre, Gesang) und Jane Wiedlin (Gitarre, Gesang), war ”God
Bless The Go -Go’s” das erste Studioalbum der Band seit 17 Jahren nach ”Talk Show” aus dem Jahr 1984
und erreichte #57 der Billboard Charts. Das Album wurde von Paul Kolderie und Sean Slade (Radiohead,
Hole) produziert und featured Green Days Billie Joe Armstrong auf der Single „Unforgiven“, Rame Jaffee
(The Wallflowers, Foo Fighters) auf ”Here You Are” sowie Roger Manning (Jellyfish, Imperial Drag und
The Moog Cookbook) auf dem Track ”Daisy Chain.”

Certain Sound Records and Montener the Menace are proud to finally release the first single from his highly anticipated second album "Anyone Home?"

Montener has recruited Wounded Buffalo Beats on production duties who’s looped a fantastically pitched vocal-sample over some hard, head nodding drums to set the scene for the wonderfully enlisted, all-star line-up to go berserk over.

The world-renowned guests include - Wordsworth, Rah Digga, Masta Ace & Fatlip as "High Noon" sees the gang of notorious outlaws trading smoking hot verses, swaggering into your local saloon, oozing with finesse as six-shooters still smolder in their holsters and their Stetsons pulled low.

This is one of the best cross-Atlantic collaborations Hip Hop has seen to date and is a fantastic choice for the initial lead single from the upcoming album.

"High Noon" is out April 2nd via Certain Sound Records and is accompanied by a fantastic Western influenced, animated video by the super-talented animator - Taylor Bowen which can be found below:


The Struggle - the 2nd single taken from his highly anticipated album -
Anyone Home?

Once again Montener enlists a heavy ensemble of guests featuring
Stones Throw alumni, Guilty Simpson, UKHH veteran, Micall Parknsun
& Artifacts emcee, El Da Sensei.

The Struggle sees the four emcees
perform their vocal acrobatics in unrivalled style as their rhymes
reverberate over a smooth, neck-snapping slab of vintage Boom Bap -
eerily reminiscent of the rich, classic sound of the Mid-90’s. JL Beats has
created a timeless beat here with DJ JabbaThaKut providing the world-
class cuts to round the track off in superb style.

“Its gonna make a great impact on the scene, just what we need, when we need it most” - Skinnyman

“Some of the most extraordinary songs I’ve heard in years.” Brian Eno

Les Disques du Crepuscule presents The Salt Garden (Landscaped), an album of extended pieces by acclaimed quiet music ensemble Fovea Hex, featuring longform remixes by British songwriter and producer Steven Wilson and Serbian soundscape artist Abul Mogard, as well as a previously unreleased mix by Peter Chilvers.

Formed in 2005 by Irish musician Clodagh Simonds, Fovea Hex have since released 3 albums (Neither Speak Nor Remain Silent, Here Is Where We Used to Sing and The Salt Garden), drawing favourable comparisons with Nico, This Mortal Coil, Ligeti and even Schubert.

The Salt Garden (Landscaped) is pressed on crystal clear vinyl, and comes packaged with a CD version featuring 4 tracks in total. The outer sleeve is printed in white reverse board and features an image taken by Crepuscule designer Joel Van Audenhaege during a recent trip to Greenland. The inner bag offers detailed liner notes as well as an interview with Clodagh.

As well as Steven Wilson and Abul Mogard, other high-profile admirers include film director David Lynch, who invited the group to play at his Cartier Foundation exhibition in Paris in 2007, and Brian Eno, who has described Clodagh’s work as “some of the most extraordinary songs I’ve heard in years.”

The Salt Garden (Landscaped) gathers together 3 long ambient remixes of tracks from the Salt Garden EP trilogy, originally released between 2016 and 2019. The core album is pressed on crystal clear vinyl and showcases ‘Solace’ and ‘Is Lanza Light & Given’, both re-worked by musical polymath Steven Wilson. “I’ve long been a fan of Fovea Hex,” explains Steven, “which for me is some of the most sublimely beautiful music ever recorded. It’s a mix of electronic and acoustic sounds played on instruments ranging from state-of-the-art to ancient and arcane.”

As well as the two tracks reworked by Steven, the bonus CD enclosed with the vinyl album also finds room for ‘We Dream All the Dark Away’, the widely-acclaimed re-interpretation by Abul Mogard of ‘All Those Signs’ from the Salt Garden II EP. By turns haunting and sinister, but always beautiful, the piece features vocals by both Clodagh and Brian Eno, as well as cello by Kate Ellis, and modular synth and effects by mysterious soundscaper Mogard.

An additional special bonus track on the CD is an unreleased remix of lesser -known 2015 digital single ‘By the Glacial Lake’ made by musician Peter Chilvers, best known for his collaborations with Brian Eno, Karl Hyde, Chris Martin and Tim Bowness.

“I feel truly honoured!” says Clodagh Simons, who began her career in cult folk-psyche band Mellow Candle, and since then has guested on albums by Mike Oldfield, Thin Lizzy, Russell Mills, Matmos, Current 93 and Steven Wilson. “It’s been fascinating to witness how these pieces have been so imaginatively and skilfully revisioned in the hands of Steven, Abul and Peter. Each piece has emerged into a completely fresh new light, with a different vibrancy, yet remains grounded in what was there before.”

Clear / Orange Vinyl
Factory Benelux presents a remastered 2xLP coloured vinyl edition of Circuses and Bread, the seventh studio album by Manchester ensemble The Durutti Column. Originally released by Factory Benelux and Factory in 1986, the original 9 tracks have now been expanded with 6 bonus pieces.

The cover art retains the original design by 8vo. The remastered limited edition CLEAR+ORANGE vinyl set is housed in gatefold sleeve, with liner notes and rare band images. A CD version is also available (FBN 154 CD).

Self-produced by Vini Reilly at Strawberry and Revolution studios, the album saw Durutti playing as a quartet, with Reilly on guitar, vocals and keyboards, Bruce Mitchell in drums and percussion, John Metcalfe (viola) and Tim Kellett (trumpet).

‘The music ends up being very simple,’ Vini told NME. ‘People can dismiss it as being very simplistic, easy listening or whatever. It’s very honest, it’s very personal. People say it’s ambient, and it’s like Eno. I don’t like that, because the music’s made to be listened to, it’s not wallpaper.’

Of extended piece Blind Elevator Girl – Osaka, Vini adds: ‘The music really writes itself. For example, we’re in Osaka, in Japan, getting in this elevator. It’s very crowded with all these Japanese businessmen talking about distribution deals, and going on and on. On this lift was a beautiful Japanese girl, in an immaculate uniform. Each floor we arrived at, she’s starting talking Japanese, obviously saying what was on each floor. We went higher and higher, and finally we get to the top. And then, sort of walking out of the elevator, I suddenly realised she was blind... It got to me, this girl. It was incredible. So maybe a day later, I was thinking about that, and the whole tune came out. And every single piece of music is like that.’

Bonus tracks include Italian-only EP Greetings Three, scarce compilation track The Aftermath, and a previously unreleased working version of 1987 single Our Lady of the Angels produced by the late Stuart ‘Jammer’ James.

GREEN VINYL

The long-awaited 3rd and final part of Data 3’s ’Matter’ series is here. ‘Atomic’ contains four incredible tracks from the dynamic trio based in Manchester and it comes after the global success of their remix of arguably the biggest drum and bass tune of all time ‘Up All Night’ by John B on Metalheadz earlier this year.

Mother Freedom Band’s Cutting The Chord is a funky modern soul classic. It’s both a criminally under-appreciated album and a hard-to-find record so we’re delighted to be giving this sweet disco-funk groover the reissue treatment it deserves.

Produced by the great Al Goodman from The Moments and originally released in 1977, Cutting The Chord seems to be one of the lesser known releases on the curious, and often great “All Platinum” label. Other than a 7" of a couple of these tracks, the only thing that the band seem to have released is this album, and what an album it is. Unbeatable soul-funk of the highest quality.

The album bursts open with “Love Will Stay In Your Corner”. It’s a soulful dancer that reliably slays any funk set you care to drop it in. It’s followed by the lithe disco funk “Flick Of The Wrist” that’s all bubbling baselines and elegant horns. The groovy, horn-enhanced sweet soul of “Gotta Get It Back” is equal parts heartbreaker/hip-shaker and the acidic organs on “Mr Brother” are an experiment in synth soul.

Perhaps the group’s best known track, “Beautiful Summer’s Day” might well be worth the price of an original copy alone. It’s pure piano-driven paradise soul. A tropical birdsong intro sets the scene of a warm, perfect sunshine day and the lead vocal soars over the lush, clean production. The tempo oscillates between contemplative and stomping. Essential.

The brilliantly-named “(Assistants Rag) When You’re Hot, You’re Hot” opens side two. Another huge highlight, its title refrain repeated over this laid-back, power-funk workout. It still sounds incredibly modern, like something off the last D’Angelo record, and if Public Enemy and Diamond D both sampled it you know it knocks hard.

The horn-heavy, clav-stabbing-stomper “We Like To Boogie” keeps things fast and funky before the airy, heavenly harmony soul of “Come On Home” mellows us all out. Things pick up again with “Touch Me”, and you might recognise its addictive elements sampled in Jay-Z’s Kanye West-produced “A Star Was Born”. The magical, reggae-tinged, gospel-influenced “Sweet Love” closes out this assured, classy set.

We dare to say that Cutting The Chord is a rare example of a funk-soul LP which is killer from start-to-finish. Sure, there are the stand-out bombs, but the whole thing is a complete and varied album of feel-good vibes held together by its fluid horns, tight, tight rhythm section and beautiful vocals.

Mastered for vinyl from the original analogue tapes by Simon Francis, cut by Pete Norman and artwork restored at Be With HQ, this new edition should hopefully stop this album slipping any further into obscurity. It’s just too good to be forgotten.