Cerca:growing

James Holvay is a key figure in the world of Chicago soul, whose songwriting helped shape the sound of the '60s alongside icons like Curtis Mayfield. Known for penning four Top Ten hits for The Buckinghams — including the million-selling US #1 "Kind of a Drag" — Holvay's influence runs deep. His career began on the road with The Chicagoans before co-founding The MOB, one of the first horn-driven rock and soul bands. With releases on legendary labels like Chess, Constellation, and Onederful, Holvay's work captured the heart of the Windy City's rich musical scene. His music has been championed on influential stations like WLS Chicago and earned him spots in the South Dakota Rock 'n' Roll Hall of Fame and the Lyons Township High School Hall of Fame.

Now, LRK Records proudly presents two new tracks, "Love That Lady" and "Don't Take Your Love", on a limited-edition 45. Drawing from his Chicago soul roots and a Curtis Mayfield-inspired sound, these songs bring that timeless, heartfelt groove to modern listeners. With the growing appetite for vintage soul, this release is essential for collectors, DJs, and fans of classic soul music.

In "Everybody Loves the Sunshine" (1976), Roy Ayers seamlessly blends genres, creating a timeless sound that continues to influence musicians and DJs around the world. He makes the vibraphone the central instrument, a jazz-funk approach that defines his unique style. Over time, the album has remained an essential reference in Roy Ayers' discography and in the history of 70s Black music. Summertime soul classic! 180g vinyl.
In 1976, legendary musician and composer Roy Ayers released one of the most iconic albums of his career: "Everybody Loves the Sunshine." This album not only solidified Ayers as a key figure in the world of jazz-funk but also marked a milestone in soul music and contemporary jazz. It features a sophisticated blend of irresistible grooves, smooth melodies, and a unique sound that has endured over the years, becoming a reference for multiple generations of musicians and listeners.

By the mid-70s, Ayers had already established his reputation with his band, Roy Ayers Ubiquity, and his distinctive use of the vibraphone, which became his personal trademark. However, with this album, Ayers ventured into a smoother, more accessible sound, partly in response to the rise of disco music and the growing interest in more experimental sounds within the music scene. Throughout its ten tracks, Ayers managed to create a sonic atmosphere that evoked both the warmth of summer and the sophistication of jazz from that era, set against a backdrop of modern soul. The production was carried out by Ayers himself, along with his producer and friend, David R. Williams, and features the wonderful sound of Phillip Woo's Fender Rhodes and the powerful energy of the rest of the band, achieving an unmistakable authenticity and freshness. Some of its most well-known songs include the title track, ‘Everybody Loves the Sunshine,’ ‘The Golden Rod,’ and ‘The Third Eye,’ which quickly became classics of jazz-funk and soul. This album is crucial in Roy Ayers' career, as it demonstrates his ability to remain relevant and creative in an ever-changing music industry. Over the years, "Everybody Loves the Sunshine" has become a cult album, frequently featured in DJ sets by artists like Gilles Peterson, Theo Parrish, and Lefto. Summertime soul classic!

Following the success of his debut album Echoes of Prayer - featuring singles like Communicate, Calm Waters, and Silent Chaos - Ghanaian-Dutch artist Bnnyhunna announces the album's first-ever vinyl release, set for May 30, 2025, via the renowned Belgian label Sdban Ultra.

Originally released digitally in October 2024, Echoes of Prayer stands as a deeply personal and spiritual work that reflects Bnnyhunna's faith, his early experiences growing up in church, and his West African heritage. Every track on the album serves as a form of prayer, a conversation with God. The album showcases his ability to weave poetic lyrics, vivid visuals, and captivating melodies, creating an immersive experience that resonates on a spiritual and emotional level.

Bnnyhunna's signature fusion of jazz, hip-hop, gospel, and Afro rhythms highlights his versatility and musical integrity. Next to the the warm jazz textures of Calm Waters, the vibrant Afrobeat pulse of Communicate, and the soulful, piano-driven Silent Chaos, Echoes of Prayer also blends elements of '70s P-Funk grooves, gospel harmonies, and modern hip-hop rhythms. Each song represents a different facet of Bnnyhunna's artistic vision. Tracks like SHOULD'VE BEEN YOU carry nostalgic R&B undertones, while Sum Love brings gospel-infused choir arrangements that recall sacred spaces. Interludes such asAvanti add moments of intimacy and reflection through gentle guitar lines.

The album's diverse sound is elevated by collaborations with The Cavemen, who lend their signature highlife revival, and Jembaa Groove, who contribute with West African-inspired rhythms.

His debut project EP SINTHA, released in 2021, quickly established Bnnyhunna as a rising talent, leading to collaborations with artists like Asake, Rimon, and José James. He gained momentum by selling out his first headline show, which included a surprise performance from Kokoroko, and receiving global recognition from platforms like Highsnobiety, VICE, and Complex, as well as performing at prestigious festivals such as North Sea Jazz and Montreux Jazz. Bnnyhunna challenges conventional music by engaging all the senses through photography, videography, and poetry.

The release of Echoes of Prayer follows a year of significant achievements for Bnnyhunna. In2024, he performed for Highsnobiety at Paris Fashion Week, appeared at prestigious festivals such as Dekmantel and Zwarte Cross, and played a standout performance at the Steam Down Weekly series in London. Additionally, he composed an original score for the Dutch National Opera and won the Edison Pop Award, one of the most prestigious music awards in the Netherlands (often referred to as the Dutch Grammys), in the Soul/R&B/Funk category.

With the vinyl release of Echoes of Prayer, Bnnyhunna offers fans a tangible, collectible edition of his powerful debut. The release via Sdban Ultra invites listeners to experience the full depth of his sound in its most intimate and analog form yet.

Repress Of the fantastic Signal Electric selfnamed tune from Perce Oreille (with a Big Up to Reno Expressillon from Signal Electric) - And 3 mores electro tunes from Signal Electrique. A superb Malice... Growing more and more dancefloor.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

2025 repress

Wilson Tanner come to shore with a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick. A change of course from their debut album 69 (Growing Bin Records, 2016), the ambient temperature drops as II casts out to sea in uncertain weather and returns to the safe harbours of Port Phillip Bay.

The seafarers head out to My Gull's poised optimism. The birds watch but do they listen? By the arrival of Loch and Key, the shoreline has dissolved completely, the boat floating in serene infinity as the rest of the world spins. Conditions soon take a treacherous turn on Killcord Pts I-III - a 12 minute odyssey that battens down the hatches as these sailors eye merciless waves and blinding ocean spray, jointly channelling Berlin-school electronics and sea legs. In the aftermath, the waterlogged bleeps of Idle survey the damage as our parched crew sound the distress signal and ultimately descend into delirium.

Known for navigating individual courses as solo musicians, Wilson and Tanner's collective storytelling is saturated in detail, buoying between tension and harmony. II modestly stands as some of both artists' most accomplished material.

Earthly Measures are proud to present the release of ‘El Búho - Cumbias Imaquinarias’, this time on wax with some added remixes.

'Cumbias Imaquinarias' is an EP that flows full circle with one of El Búho’s earliest inspirations for making electronic music; digital Cumbia. It was a scene that exploded out of Buenos Aires around 2008 and went global. The scene soon saturated and fell out of fashion, but gave birth to artists like Chancha Via Circuito, Frikstailers, El Remolon and was a big inspiration for him as a young producer.

For El Búho there was always something there; the entrancing magic of the Cumbia rhythm reimagined for the electronic dancefloor. Cumbia is a music that is globally connected but also so diverse, evolving and growing into many subshoots of this one simple rhythm. This EP presents three Cumbia’s and one Porro rhythm (a derivation of the Cumbia rhythm from the Colombian Caribbean which evolved into its own style).

Joining El Búho on remix duties for this release are ARN4L2, Lagartijeando, Auntie Flo, La Jungla, Earthly Measures x Dreems, La Forasteria and Sun Sone. Each artist offering a completely unique approach and their own magic touch to this El Búho masterpiece.

More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

Purple Vinyl, limited to 450 copies. More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.

All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.

This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.

The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world

Long, long overdue reissue of this gem from the depths of The Skaters dreamweaving dimension, released as a limited tape through Spencer Clark's Pacific City imprint back in 2008. Comprising a period of extreme and vital activity for both Clark as Monopoly Child Star Searchers and Black Joker and his kindred spirit James Ferraro under his own name - 'Marble Surf' or 'Discovery' - and a myriad of identities like Liquid Metal or Edward Flex, this split finds these intrepid explorers on each side of a scrying mirror.
Conjuring the Angel Snake entity as a vessel for unlocking the unconscious, Ferraro takes up the A-side with hypnotic wooden percussion sustaining queasy tape processed keyboard lines that intertwine amidst a growing haze of hiss. About halfway through the digression an announcer boombox voice cuts up the scenery for a serpentine dance around the discarded remnants of civilisations past and future. Clark's Monopoly Child rides a beaming synth and muffled percussion accents on his trademarked keyboard thrills, all ascending and descending runs brimming on the horizon, not quite here, not quite out of reach, fading out to a galloping murk smeared by hallucinatory flute-like sounds and portamento accents that float in harmonic suspension.
Truly visionary and arresting stuff from these true purveyors of the netherworld, due to be rediscovered in these times of poor half-reassessments of the given past. It was never a dream, it was always a dream.

1982 4-Piece Demo' is the first official, fully-licensed and unreleased material to be released under the name Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band's mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn't a complete picture. Bryson and McDowall's growing friendship, having met some years earlier on the punk scene, became a creative partnership: Bryson's art school background and McDowall's history in avant-punk group The Poets meant Strawberry Switchblade was a band pitted against many established norms. The band's very first incarnation, an all-female 4 piece, recorded one demo at Glasgow's Hellfire Club and played a handful of gigs. Friends Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry Switchblade would eventually pair down to a duo and go on to chart success but it's in these raw, passionate recordings that the songwriting and vocal elements were being hammered out and explored in real time.


Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

Risk/Reward is the brainchild of New York based, London-born underground music scene veteran and Archivio Records owner Daniel Dutts.

The label fuses leading contemporary artists, with iconic 90s producers to create a playful yet sophisticated sound, firmly focused on creating dance floor magic!

The first EP showcases rising Philadelphia talents Post Play (Sweater & John Raffaele), whose previous excursion on Small Moves became a much sought after cult classic.

Danger is what’s commonly known by DJs as a “sure thing”, guaranteed to get the most stubborn of crowds moving. A cheeky bass groove, quirky stabs, hip hop breaks and scratched vocals, create a vibe best described as “if DJ Premier made a track for Wiggle in the late 90s”

Go blends vintage Nu Groove style NYC house with progressive and techy elements to create a unique dancefloor monster. warping speed garage style sub bass combines with punchy stabs, lush pads, trippy synth leads and skippy, swinging drums, creating an atmospheric but driving track, that keeps you guessing til the very end.

Bushwacka! channels his Plank-era heyday to create a remix of Danger that delivers multiple “what the f#%k was that?” moments, as he takes you on a breakbeat voyage with crisp percussion, devastating low end, hypnotic ragga vocals and a didgeridoo no less! A reminder of the man’s genius and genre-defining sound.

What I Meant To Tell You merges warm, J Dilla style sampled chords, with punchy 808s, a deep and warm bassline, dreamy pads and enchanting male/female call and response vocals. Perfect for a warm up or deep in the afters.

With heavy support from the likes of Dyed Soundorom, Tini, Harry McCanna and more, the Post Play boys are ready to add another buy on sight record to their growing discography.

2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.

“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.

Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.

These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.



Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

Sex Mask is a 3 piece post-punk/alternative rock band based in Melbourne, Australia, drawing members who hail from various parts of the globe.

The self-contained writing/production unit comprises Vicente Moncada on drums/production, Ry Gray on vocals and lyrics, and Kaya Martin on guitars and synths.

Their music is described as "vague pop instilled with the ancient genius of your own blood," suggesting a blend of introspective lyrics, innovative soundscapes, in a context of absurdist punk.

Sex Mask has released several tracks, including "Tv Movie," "How To Be Cool At Parties," and "Birds." They have a growing organic base of listeners on streaming platforms.

Their captivating live show in 2024-25 has seen them support Fcukers, Big Special, Fat White Family and festival stages around Australia.
Following an exciting Bigsound Brisbane and SXSW Sydney in late 2024, the chaotic trio will embark on their first UK tour this spring, covering stages at Dot To Dot, Great Escape, Get Together as well as their debut headline show in London.

“In my category, I’m the one and only,” proclaimed Oakland legend Too $hort on his 1990 single “Short But Funky.” Few disagreed then, and even fewer would do so decades later. First appearing in the mid-1980s, slinging homemade tapes out of his car trunk, the man born Todd Shaw has always stayed true to himself. Although he is known more for the dirty side of his rap game, on “Short But Funky,” he also reminds listeners of an important fact: “There’s a serious side to everything I say.” Short Dog’s In The House, was $hort’s sixth studio album, and his second for the Jive label. By the time it hit, he was a West Coast legend, but his rep was growing Eastwards, as the rest of the country started opening its ears to new sounds. Peaking at #20 on the national Billboard 200 chart, the album was exactly what his dedicated fans expected funky, 70s drenched beats made for cars on the boulevard, and no nonsense lyrics that made more sense and dropped more knowledge than he was ever given credit for. For examples of his conscious side, look no further than the P-Funk fueled “It’s Your Life” or the album’s lead single, “The Ghetto.” The album’s second single “Short But Funky” landed somewhere in the middle of $hort and Todd Shaw, talking about where he was at as the new decade broke, and making it clear that he wasn’t going anywhere. His mortality was mainly on his mind after rumors had surfaced the year before that he had died in a crack house. He speaks directly to this crazy episode on “Dead Or Alive.” And although it’s mostly a solo affair, he brings in some heavy artillery and a lot of not for the kids profanity on “Ain’t Nothin’ But A Word To Me,” featuring none other than Ice Cube In between, $hort distributed plenty of tales and charisma for fans to eat up, continuing to build his legendary status as one of the rap trailblazers of the era. Get On Down has repressed this 1990 Bay Area classic album on Blue and Ruby Color-In-Color vinyl

TOTEMIC MODULATIONS, UNEARTHED FROM WIND AND WORDS

“The album Chênes mainly brings together songs. These songs are narratives of scenes that unfold in the forest, or in the city but with animal and plant protagonists. One song also tells the story of a solitary walk in the mountains. They are like zoomed-in snapshots of the world of insects, amphibians, birds, and mammals. They are also celebrations of growing life, and the pleasure and joy it brings.

Composed over the course of about two or three years, it was a deliberate choice to bring them together for this album, even though they were not initially connected to one another. One of them is an exception and is more of a collection of vocalizations and cries without actual words, composed in a language incomprehensible to humans because it is nonverbal.

This collection of imitated chants and sung songs had to be illustrated by the collages of my friend Fen. Even though the stories describe real species and elements, they are indeed imagined tales. Her collages are, too. There’s also the violin that adds a wandering touch to the pieces, and other instruments that shape the environment and setting of these stories. Bells, bird calls, whistles, flutes, jaw harp, harmonica — all imitate more or less imaginary species. Each has its role and its life, down to the horsehair of the bow that rubs the strings of my violin to bring forth the sound.

Chênes is a title that pays homage to trees I love so much, though without preference over others. They have embodied several giants that I’ve often come across, greeted, and embraced” ~ Roxane Métayer

Trash Mountain, Lily Seabird’s new LP out April 04, 2025, via Lame-O Records, is her most searching and immediate effort to date. Over nine delicate but sturdy tracks of intimate folk rock, she pares her songwriting down to its most resonant essen- tials.

There’s not a second wasted as she sings
of loss, growing up, and finding your center when things get overwhelming. It’s an album of unwel- come exits and uncertain futures, but there’s resil- iency and hope at its core. Recorded with producer Kevin Copeland (Hannah Frances, Lightning Bug, Allegra Krieger), it’s a testament to finding joy and connection in life’s chaos and confusion.