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First pressing of 400 units comes as yellow vinyl! "I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, 'Ah!-(etc)' made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose' it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something" And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein_ after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for "one-man-band-home-recording-pop-songs of idiosyncratic character." A quick follow up to his more power pop and pub rock LP only "Hard Feelings" offering in the summer, "Ah-(etc)" finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60's and 80's. As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along_ Stoltz former bandmate, Echo & the Bunnymen's Will Sergeant adds electric guitar to "The Quiet Ones" a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover "Moon Shy", where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF's Dirty Ghosts sings on "She Like Noise", a song Stoltz wrote for her in celebration of her love of seeing live bands. The album was mastered by Mikey Young in Australia.

Levit's sixth disc released on the Sony Classical label which conveys the urgent desire for encounter and human togetherness – at a time when isolation is the order of the day. The result is a very personal recital. While speaking touchingly of the hardships and unexpected feelings of liberty resulting from social distancing, musically the recital stands out for the objective spirit of its carefully crafted form. Igor has performed a total of 53 recitals over the Internet from his home since mid March 2020 with an audience of hundreds of thousands. Specialist promo/marketing activity.

‘No Limits’ is a record that has been causing waves since 2019 when it was originally released on Gladys Pizarro’s Launch Entertainment imprint.

Born out of an inspired studio session in 2018 between Danism, Train and DJ Rae, the song immediately felt special, evoking memories of the heyday of the soulful NYC sound. The production and, in particular, the sublime vocal delivery from DJ Rae made it stand out and the NYC-based Launch Entertainment seemed the perfect home for it. The record was a hit on the soulful house scene with heavy support from Louie Vega, Todd Terry, Francois K, Terry Hunter, CJ Mackintosh, Mr V, Sandy Rivera, DJ Spen, Brutha Basil, Sy Sez, Richard Earnshaw and loads more.

Fast forward to 2021 – and in partnership with SoSure Music - ‘No Limits’ is set for release on vinyl with the unquestionable expertise of Danny Krivit laying down a signature re-edit of this soulful house gem. Looping up DJ Rae’s vocals to expert effect at the beginning of his edit, Krivit amps up the anticipation for that sensuous, soulful house drop as twinkling keys reverberate from ear to ear. This is emotive house at it’s very best. The full length and original Vocal Mix graces the B-side.

With this release Danism, Train and DJ Rae also launch their DTR project alias. With the continued success of ‘No Limits’ plus brand new material set to follow throughout the year on Launch Entertainment it makes sense to cement their initial collaboration into something more solid. Danism, Train, DJ Rae combine as the DTR Project with Danny Krivit on remixes duties. A delightful combination to kickstart 2021.

**400 ONLY REPRESS PHOTOLUMINESCENT COLOUR VINYL///!! 200 FOR EUROPE** “I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, ‘Ah!-(etc)’ made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose’ it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something” And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein… after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for “one-man-band-home-recording-pop-songs of idiosyncratic character.” A quick follow up to his more power pop and pub rock LP only “Hard Feelings” offering in the summer, “Ah-(etc)” finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60’s and 80’s.

As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along… Stoltz former bandmate, Echo & the Bunnymen’s Will Sergeant adds electric guitar to “The Quiet Ones” a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover “Moon Shy”, where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF’s Dirty Ghosts sings on “She Like Noise”, a song Stoltz wrote for her in celebration of her love of seeing live bands.

The album was mastered by Mikey Young in Australia.

Following the 2020 release of RoundAgain, Nonesuch reissues on vinyl Joshua Redman's first album with his own band — pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade — originally released in 1994. MoodSwing was Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz — a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy ‘Chill’ to the urgent energy of ‘Rejoice’, Redman offers up a communicative and inspired record ofemotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in ‘The Oneness of Two (In Three)’ and ‘Past in the Present’. The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums.

As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success, selling over 300,000 units worldwide. Entertainment Weekly wrote, ‘saxist Redman finds ingenious ways of creating a modeof acoustic jazz that is both entertaining and enlightening.’ This record continues to provide a cornerstone for Redman’s currentcareer; many of these compositions are still featured in the saxophonist’s live sets today.

Redman’s previously announced European summer 2020 tour dates with Mehldau, McBride and Blade have been rescheduled for 2021, including London’s Barbican, now on July 11.

Gang Starr is undoubtedly one of the most revered, beloved and influential groups in Hip Hop. Over the course of their distinguished career, they became a cultural institution and a brand you could ultimately trust. With a handful of indelible classic albums on their resume, DJ Premier and Guru’s catalogue has not only persevered but mastered the test of time. Simply, Gang Starr did not follow trends, they created them.

DELUXE VINYL EDITION!!!By the time this performance was recorded on the final night of her NYC debut in 1977, this show had become the hottest ticket in town and the Bottom Line was deluged with celebrity ticket requests, including from other iconic performers like Bruce Springsteen and Mick Jagger, who both attended. This three night engagement at the legendary music room was essentially Parton's New York City coming out party, and even those not necessarily country fans can surely appreciate this show for its pure entertainment appeal and Dolly's undeniable charisma.

For over a decade and almost every Christmas, Sufjan
Stevens recorded a Christmas album that he gifted to
friends and family. The recording process took place
every December, for one week, usually at home,
provoking collaborations with friends, roommates and
musical peers. In 2006, Stevens' label, Asthmatic Kitty
Records, released 'Songs For Christmas', a CD boxset
compiling the first five of these albums, Volumes I-V.
And in 2012, the label released 'Silver & Gold', a CD
and vinyl boxset compiling of Volumes VI-X. However,
the first five volumes have never been released to
vinyl.
This holiday season, Asthmatic Kitty Records are
finally releasing 'Songs for Christmas' (Volumes I-V) as
a 5xLP vinyl boxset. The boxset includes fan favourites
like 'Sister Winter', 'That Was The Worst Christmas
Ever', 'Only At Christmas Time' and 'Put The Lights On
The Tree'.
'Hardly a straight-ahead Christmas album, then...
Whatever, it's Sufjan Stevens. He's a modern wonder,
and now he's just made Christmas better as well!' -
BBC
'The season's most thrilling holiday release.' -
Entertainment Weekly
'There are moments of quirky holiday splendour -
moments akin to some of the best material on
'Greetings From Michigan And Illinois' - that make
plowing through the entire five-EP set a pleasure.' -
Allmusic

Glyn Bigga Bush has been producing electronic and sample-based music since the early 90s when he formed Rockers Hi Fi, going on to release numerous albums. Since the turn of the century he has produced and DJ'd as BiggaBush as well as various side projects such as Lightning Head (Sonar Kollektiv), the Dandelion Set (Buried Treasure) and the Magic Drum Orchestral (Tru Thoughts).

Bigga's latest project 'Sunken Foal Stories' represents a departure from much of his other work in that it is not primarily based on beats. Instead, his working method was to go with fascinating samples, accidental juxtapositions and irregular loops - inspired by pioneers of sound such as Faust and the audio experiments of Julian House as well as early stereo test records, soundtracks and library music.

The 21 concise tracks of Sunken Foal Stories link into two 15 minute segments on the LP. Bush explores the random elements created by overlaying disparate samples, where chimes of baroque psychedelia clash with ascending classical strings, or a haunting Eastern European folk song is looped into an eternal cadence of longing. Various voices float over the speakers, lost poets, disturbing therapists, dreaming vampires, chuckling cabaret singers. Sourced almost entirely from charity shops and carboot sales, the source material speaks of a forgotten yet relatively recent period, when stereo was something new and exciting, when home entertainment first came into its own and suburban homes thrilled to the exotic sounds of home organs, primitive beatboxes, LPs bought in unusual holiday destinations and 'glamorous' soundtracks.

The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect'
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Music is the healing force of the universe. It's an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan's 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind.

After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people's energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion.

Music of the Five Elements is not only the acoustic massage' that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction.