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Blue vinyl repress

With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius.

Maceió, the capital of Brazil’s Alagoas state on its sprawling east-coast, is home to pastel coloured colonial houses, white sand beaches and a brilliant young composer, poet and multi-instrumentalist named Bruno Berle.

With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius.

“It’s an album that was built from my desire to find beauty”, Berle explains - his simple, graceful words mirroring the graceful simplicity in his music. But amongst the simplicity, the compositions, arrangements and productions on No Reino Dos Afetos tingle with nuance and detail.

On the contemporary R&B inspired lead single “Quero Dizer” - produced by Berle and longtime friend and collaborator Batata Boy - the swirling, lo-fi, kalimba and guitar-fronted beat is turned into a feel-good hit by the ingenuity of Berle’s honey-soaked vocal melody.

Powerfully intimate, “O Nome Do Meu Amor” (My Love’s Name) is a guaranteed tearjerker, with Berle’s stunning voice soaring over gently plucked acoustic guitar and the textural flutter of soft movement, as if we hear him writing the song in the moment.

Drawing upon a close-knit, collaborative scene of Maceió artists and musicians, (of which Berle and Batata Boy are vital members), Berle also recorded some of his friends songs on the album, including João Menezes’ “Até Meu Violao”, the album’s beautifully laid back sunshine soul opener, which has all the charm of early-70s João Donato.

Having cut his teeth in soft-rock group Troco em Bala, and more recently finding himself embedded in both Rio and Sao Paulo’s contemporary music scenes - collaborating with the likes of Ana Frango Eletrico, who took the photo for the album cover - No Reino Dos Afetos is as musically diverse as Bruno himself. It’s hazy indie rock (“É Preciso Ter Amor”), calming ambient and field recording (“Virginia Talk”) as well as Berle’s own take on West African High Life (“Som Nyame”).

Instantly recognisable as a truly special artist, Berle’s character fills every corner of the sound, which is unsurprising considering he played most of the instruments.

Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there."

In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.

Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.

Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."

Following the cult success of the first 2 EPs, Common Saints presents
the debut album "Cinema 3000". The theme continues, blending soul,
funk, and psychedelic influences, with the organic sound and rich
instrumentation that Common Saints has become known for.

Conceived in 2020 by writer/producer Charlie J Perry the production approach

for Commons Saints consists of him playing and recording real instruments in his

London home studio. One mike for the drums, his beloved piano and amps up

loud!



The album encapsulates the old school recording approach and musicianship the

discerning ear craves but with a more modern punch - a true sonic bath for all the

connoisseurs out there. Think, UK's equivalent to Tame Impala and Khruangbin.



The first EP "Idol Eyes" (2020) has seen 3 re-presses to date and is now selling at

multiples on Discogs. "Cinema 3000" is set to surpass expectations and is highly

anticipated within the Commons Saints community. The first LP pressing is on a

' blue meteorite splatter’ effect colour vinyl and will be limited to 2000 units

globally. Also available on CD, presented in a 6-panel digipak.

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

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


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

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

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

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

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

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

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

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

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

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

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

Fourth R.A.N.D. Muzik x Echocentric Records collaboration release is an album by DC Salas.

DC Salas' second album, To The Places I Call(ed) Home, is a deeply personal exploration of memories, grief, and the concept of home, blending house, progressive, new beat, acid, goa, and trance.

Crafted over two years in his Brussels studio and on the road, the album served as a healing process following personal losses and reconnects Salas with his father's Peruvian roots. It features collaborations with Curses and Moroccan artist Zaatar, and each track reflects moments that shape his life while honoring fragments of his past.

Despite its themes of loss, the album radiates positivity with bright dancefloor moments and new beginnings.

The 2015 edition of Winnipeg’s send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle is pleased to announce the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters? For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch’s phrase, ‘establish silence’. Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don’t often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Alongside metallic, wooden and skin percussion of all kinds, sounded and struck in every conceivable way, we also hear bamboo flute, viola, and Fuchs’ distinctive free-form vocalisations. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. On opener ‘Dessogia I’, the shimmering almost-gilssandi tones of Fuchs’ enormous set of microtonally tuned metal tubes ripples across Fell’s rubbery pulse, which moves up the frequency spectrum as Fuchs becomes more animated and switches to horn. At some points, as on the metallic chiming tones that open ‘Fauch I’, only the unexpected dynamic behaviour of Fell’s sounds distinguish them from Fuchs’ acoustic instruments. At others, like on ‘Queetch III’, the waves of sliding tones and noise textures are bracingly synthetic, joined by piercing squeaks and scrapes from Fuchs’ metal objects. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.

SYML—Welsh for “simple”—makes music that taps into the instincts that drive us to places of sanctuary, whether that be a place or a person. Born and raised in Seattle, Brian Fennell studied piano and became a self-taught producer, programmer, and guitarist. This May marked the fifth anniversary of his self-titled debut album, which included the platinum-selling song “Where’s My Love” and the Gold Record fan favorite, “Girl,” and one year since his sophomore album, The Day My Father Died, which was recorded and produced with fellow Seattle-native Phil Ek (Band of Horses, Father John Misty, Fleet Foxes) and features Elbow’s Guy Garvey, Lucius, Sara Watkins of Nickel Creek, and Charlotte Lawrence. In the last year, he was also featured on Lana Del Rey’s song, “Paris, TX,” from her Grammy-nominated album Did You Know That There’s A Tunnel Under Ocean Blvd, and realized several other notable collaborations including UK-electronic artist George Fitzgerald, Latin Grammy-nominated Colombian artist Elsa Y Elmar. In February 2024, he launched his imprint, FIN. Recordings, a new venture in collaboration with his label, Nettwerk Music Group, and management team, Good Harbor Music. Says Fennell about Infinity, “Sometimes, songs are wandering souls with no home, and it’s not until enough of them are written that the home is realized. I have a proud obsession with all things apocalyptic and the doom and wonder of an ever-expanding universe. This group of songs is an ode to the absurdity of human existence and my fondness for it. My inspirations were very cinematic ranging from big blaring soundscapes to more gentle, dusty settings like Ennio Morricone was so gifted in painting. I am fascinated by what humans are capable of, especially the stories we tell ourselves to explain our world and the space around it. Importantly, I am thankful for the creative space to make art without rules or expectation.

The soundtrack to the acclaimed 2024 indie comedy "Home Free" is produced by Adrian Quesada (Black Pumas, Grupo Fantasma) and features songs by Quesada, J. Mascis, Mix Master Mike, Fatlip (Pharcyde), Lucious Jackson, James Petralli (White Denim), Neal Francis, Ben Kweller, and many more. It's an eclectic blend of hip hop, funk, and more stripped down, singer-songwriter tracks, that help bring to live this coming-of-age story set in the 1990s.

The 1990 album Scène De Vie was the big follow-up album to her debut Mademoiselle Chante and it confirmed the singer's talent and potential. The album went straight to the top of the French charts and featured several successful singles, including ""Les Hommes Qui Passent"", ""Les Mannequins d'Osier"", and ""Kennedy Rose"". The album eventually reached 2 million sales worldwide and received a diamond status. The album also had great success in Germany, Switzerland, Belgium, Canada, and Russia. Scène De Vie is available as a limited edition of (1000?) individually numbered copies on crystal clear vinyl and includes an insert.

Alternative Jazz. This is a 5 track EP of brand new, previously unreleased material from The Near Jazz Experience (Terry Edwards, Mark Bedford and Simon Charterton). Whilst recording the new album Terry asked pianist Mike Garson (best known for his work with David Bowie, Nine Inch Nails, Smashing Pumpkins) - whom Terry has toured with if he'd like to play on a track. Mike said yes, recorded a stupendous solo for Character Actor at his home studio and sent it over. All in the space of 24 hours! On hearing the piano part NJE bassist Mark Bedford came up with the idea of having the piano mixed with the original track (as intended) but also using it as the basis for a completely new recording with the piano leading rather than complementing the band. Side 1 of the EP has these two very different versions from the same seed. Unidentical twins indeed. Side 2 of the EP contains 4 outliers from the album sessions. These aren't out-takes or unfinished pieces. They simply couldn't find a place for themselves within the album - along the lines of the tunes Tom Waits put together for his Orphans compilation of 2006. They are standalone tunes which have found a home together on this EP because in some way they all have filmic qualities. Side 1 contains 2 takes on Character Actor (the title being a nod to Cracked Actor, a tune on Aladdin Sane, the album that introduced Bowie fans to Mike Garson), and Side 2 has The Loping Four; Projector; MacGuffin and Lockstep, all titles which contain strong cinematic elements, MacGuffin in particular. It was Alfred Hitchcock's favourite word for a red herring in the plot. The musical cast on this release has a remarkable pedigree. The NJE consists of Terry Edwards (solo artist and session player with PJ Harvey, Franz Ferdinand, Siouxsie, Jimi Tenor, Piroshka, Tindersticks etc); Mark Bedford (Madness, Robert Wyatt, Robyn Hitchcock, Nightingales etc); Simon Charterton (The Higsons, Alex Harvey, Zook, Serious Drinking etc). Alongside featured guest Mike Garson there is an appearance by Oliver Cherer (Aircooled, Miki Berenyi Band) on keys and synth. This is an RSD exclusive, 500 copies on black vinyl in full colour sleeve which reflects the filmic quality of the recorded material. No download. The title track will appear on the next Near Jazz Experience studio album. The 4 additional tracks, however, will remain exclusive to Record Store Day.

“Reflex” is Gábor Lázár’s debut album on raster. His new record is a collection of seven tracks, featuring an extended sound palette of percussions and synthesizers drawing our attention towards the essential soundscapes of techno while maintaining his distinct, uncompromising and meticulously detailed style. While the tracks do not follow traditional narratives, the album has an evolution: it gently builds up from challenging, unpredictable, and organically composed structures to linear yet playful forms of techno-infused tracks, taking us on a journey from home listening environments to club contexts.

Our senses are stimulated by micro-variations of textures and patterns, leading us to the feeling of here and now, allowing us to observe our own reactions and thoughts evoked by the listening experience. Gábor’s consistent production techniques and intuitive compositional approach work together coherently, addressing the listener’s cognition from different angles simultaneously, offering a variety of ways for the listener to get immersed.

“Reflex” will be released on raster in September 2024 on vinyl and CD.

Now on our sixth release & going strong, Brooklyn Sway returns with a heady combination of local producers, further-afield figures and scene-setting interludes to get that real Bucktown mood, accompanied by bold new artwork from NYC "Grafstract" muralist Fumero.

After words of wisdom from originator David Morales, St. Xose, patron saint of afterhours, re-rubs his own entry from BKS-01 into an electro flip with a forceful but smooth strut, Nathan Nothing's ephemeral vocals vanishing in spaces between steady bass pulses and broken beats. Those looking for late-night addresses check Noha's 'Madison Street 932', where the PanickPanick! label head proves his local cred with a funky, vocal sample-driven house jam equally at home on its eponymous street corner or somewhere later, darker, and preferably inside.

Label regulars DeWinter & Emma return with 'Unity', the spoken word Spanish vocals interweaving with choppy snare patterns and a room-filling reverberating bass roar that hits paydirt when English vox and a kick hit late in its second half. C&K are local legends Connie & Karina, and while that may not be some punters' first guess for their moniker's meaning, the track is an exercise in restraint and class, jaunty house swathed in dub echoes and hand drums that positively sways when the trombone lead swings in to carry the tune.

Feiern Sie die Weihnachtszeit mit der beliebten Weihnachtssammlung von Sufjan Stevens, ,Silver & Gold: Songs for Christmas, Vols. 6-10", die jetzt zum ersten Mal seit ihrer ursprünglichen Veröffentlichung 2012 wieder auf Vinyl im Handel erhältlich ist. Dieses umfangreiche Set enthält fast drei Stunden festliche Musik, darunter 18 Eigenkompositionen und kreative Interpretationen von Weihnachtsklassikern. Die 6-LP-Kollektion (vier Einzel-LPs und eine Doppel-LP) im Schuber zeigt Stevens' einzigartige Herangehensweise an Weihnachtsmusik, die Folk, Indie-Rock und experimentelle Klänge miteinander verbindet. Von intimen Weihnachtsliedern bis hin zu ausgedehnten Orchesterarrangements zeigt ,Silver & Gold" Stevens' künstlerische Vielseitigkeit und seinen kollaborativen Geist, was es zu einer unverzichtbaren Ergänzung jeder Weihnachtsmusiksammlung macht.

Following his debut on Planet E Communications last year to release Art-O-Fact, New Jersey-born and-based house music legend Junior Sanchez now teams up with longtime friend, label boss and techno icon Carl Craig for a brand new Remix EP. “Art-O-Fact (Detroit Remix)” injects the futuristic sound of Carl’s hometown, the EP also includes a ‘Beatless’ mix and a ‘Bass’ mix, which split the new Detroit Mix directly in half, with one focused on melody and the other on rhythm.

Sanchez initially brought “Art-O-Fact” to Planet E with Detroit in mind. “I loved so many records by Carl Craig, Derrick May, Kevin Saunderson, and Juan Atkins,” he says. “I let my inspiration guide me, and I thought about that city—what it meant to me and what techno meant to my heart.” To fully connect the dots, Carl Craig has hopped on the remix, reinforcing the eclectic synth work with a heavy new groove, a gritty bass line, and subtle, shadowy synth melodies. The result is a fortified connection between two scenes and eras that sonically toes the line.

With his 9th album, Housemeister invites you on a fascinating journey through electronic music. This work combines influences from techno, electro, synthesizer music, melodic house and synthpop, and shows the artists diversity and creativity. Driving rhythms, optimistic sounds, life-affirming vibes and less nervousness than in previous releases make this album more mature and an incomparable listening experience. The album captivates with its varied mix of different styles that magically come together in harmony. Beautiful melodies that stay in the ear and a successful balance of slow and fast tracks make it a work that constantly reveals new facets. A particular highlight of the album is the track Love is a Killer, in which Joy Tyson provides goosebump moments with her incredible voice. This alternative synthpop song is an emotional highlight and shows Housemeisters ability to create deep and moving music. This album is a must-have for all electronic music lovers and a versatile companion for any playlist. Whether in the club, on the radio or in a personal playlist, Housemeisters new album will set dance floors ablaze and hearts melting. And like always, the artwork is made by Housemeister himself.

Erste Gesamtausgabe als Deluxeausgabe: 4xLPs in einem geprägten Gatefold-Cover, gestaltet von Stephen O'Malley, mit einem 30 x 90 cm großen Poster. "Divine Comedie" ist ein Opus Magnum, geschaffen von zwei der führenden Komponisten ihrer Zeit, mit einem musikalischen Anspruch, der Dantes Gedicht und seiner visuellen Interpretation durch Sandro Botticelli oder Gustave Doré gleicht. Lange Zeit wurde dieses Triptychon als ein zweiseitiges Werk präsentiert, in dem Bernard Parmegianis Hölle und François Bayles Fegefeuer aufeinander reagierten und sich gegenseitig erweiterten. Michel Hermons Stimme führt durch die Vorstellungskraft des Zuhörers. Erstmals wird "Paradise", ein gemischtes Stück, das gemeinsam komponiert und live aufgeführt wurde, auf Tonträger veröffentlicht. Tatsächlich wird "Paradise" fünfzig Jahre nach seiner Uraufführung für unsere Ohren enthüllt und wertet damit die erste Gesamtausgabe von "Divine Comedie" auf. - François J. Bonnet, Paris, 2023

"Five years since her debut album Delivery, Mikaela Davis has moved away from her hometown of Rochester, shared the stage with the likes of Bob Weir, Phil Lesh, Christian McBride, Bon Iver, Lake Street Dive and Circles Around the Sun and entered a new decade. But it’s the ever-evolving relationships between her closest friends and bandmates that has propelled the Hudson Valley-based artist onto her latest album And Southern Star––a truly collaborative effort that ruminates on the choices we make, and the people we always come back to.

The band, made up of Davis (harp/vocals), Alex Coté (drums), Cian McCarthy (guitars/vocals), Shane McCarthy (bass/vocals) and Kurt Johnson (steel guitar), have been playing together for over a decade and it’s the first time they’ve appeared on a full length record together. Weaving 60s pop-soaked melodies, psychedelia and driving folk rock, And Southern Star picks apart the reflection we used to recognise, while trying to build a new one. It navigates the periphery of past selves, the coexistence of isolation and excitement in a new environment and the tension of growing away from what we thought we wanted, tackling it with a luscious, kaleidoscopic grace. “I finally feel like this album is more me than anything else that’s been released,” Davis says, adding that producing the album along with her four bandmates allowed them to carve out their own ideas, rather than someone else’s. It’s the band’s collective step into adulthood that has informed much of And Southern Star’s thematic landscape."

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on red vinyl, with extensive notes and lyrics.

Second release on Robert Pollard's new Splendid Research label is a vinyl & CD reissue of a 1984 demo cassette by Children's Crusade, post-punk teenage band of Guided By Voices' Doug Gillard. The Cleveland guitarist went on to record for Scat, Homestead and Restless Records with the bands Death of Samantha, Cobra Verde, My Dad Is Dead, and Gem, before joining GBV (1996-2004), then Nada Surf (2010-2016), then rejoining GBV (2016-present), as well as playing on albums by Richard Buckner, Neko Case and others. 1980s Cleveland was a hotbed for indie rock, following in the Northern Ohio footsteps of Pere Ubu, The Dead Boys, The Styrenes, Mirrors and Devo. "Children’s Crusade was a fleeting blotch on the wild, mid-80s Cleveland underground music scene, slowly seeping through like a drop of oil on the uniformly black jeans of that era – noticeable only after it settles, spreads, and you realize it won’t come out in the wash."