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Nirvana's third LP is a masterpiece of late UK sixties popsike turning into symphonic pop, but not having received proper promotion despite being equally good as, if not better than their previous releases, it also marked the end of the collaborations between Patrick Campbel-Lyons and Alex Spyropoulos back in 1969.



Nirvana presented it to Island boss Chris Blackwell under the title of Black Flower. Blackwell, however, decided to turn it down for release, but gave the masters to Campbell-Lyons and Spyropoulos so they could find a new label to release the album. That was to happen in the USA through Metromedia Records in 1969. At that time, the label's owner went through a scandal due to the payola days, which left Nirvana's third offering without any promotion - as a result of that, very few copies were pressed. There was also a UK release on PYE and it was even released by Metromedia in Japan. However, for years it remained as "the lost" Nirvana release, with the added fact that none of the released editions launched the album under its original title of Black Flower but under the rather cryptic Dedicated To Markos II (read why in the liner notes!).



Musically, this is Nirvana at their best. The tune that should have been the title track, Black Flower, is an incredible piece of symphonic psychedelia and probably the best produced Nirvana track ever. Campbell-Lyons and Spyropoulos were backed for the occasion by Spooky Tooth, who played on many tracks of the album, and big orchestral arrangements mesmerize the listener in one of the duo's darkest offerings. This song aside, the rest of the album was deemed as sounding too much like a French soundtrack by Island, which may do at some points –without that being a bad thing,– but there is a lot more to it, since Nirvana have not lost that popsike edge that characterised their sound in their two previous outings.



This is also a record that was widely acclaimed in the hip hop scene. And samplers of it have been used by several artists, most notably DJ Shadow used Love Suite in his 1996 debut album Endtroducing.



The Wah Wah edition has been remastered from the original tapes by Roger Prades @ Prades Mastering and comes with a bonus 7" EP and a four page colour insert with liner notes by Malcom Dome, plus a sheet with the lyrics of the songs. First ever official vinyl reissue since 1970 in a limited edition of 500 copies only!

Six huge tracks from Activa's classic album "This World" get remastered and recut on to two slabs of heavy weight vinyl in all their full length glory.

The long-standing fans amongst you may recall some very limited vinyl samplers back in the day.

However, of the six tracks featured here, two have never made it to vinyl before, making this limited edition 180g double album with full colour sleeve, a gem for both collectors and fans.

Paul Kelly, who died in South Carolina in 2012, only ever had one genuine 'hit', ”Stealing In The Name Of The Lord” in 1970, despite a recording career that lasted the best part of three decades. He also had the misfortune in later years to be confused with an Australian singer of the same name.

He was, however, a singer and writer of unusual and undeniable talent, and in the first half of the seventies -a time when his songs were in considerable demand- cut two of the greatest of all soul LPs down in Nashville, “Don't Burn Me” and “Hooked, Hogtied & Collared” with long-time mentor and producer Buddy Killen, on which the two self-penned tracks on this single initially appeared.

It is the first time either of them have been featured on a 45. “Tremble” is a lovely relaxed dance side, bathed in shimmering strings, while “Come With Me” flows effortlessly underneath Paul's sublime aching singing. Enjoy!

A matter of pace, an analog memory…
Feel safe: like newborn, take your first careful steps on a clean slate while Maayan is your supervisor. Naïve and happy, you leave carbonbon footprints on your way into the positives. Then a faster pace: some tribal folk music from a tiny world, where people dance around an LED fire, commands a gallop to the one and ollam. Latinfection guaranteed.
Your nonplus motion interferes with environmental geometry. A memory from an analog past flashes like a daydream. Upward and rising, your smile workout succeeds while scintillating waves say “hello!”. Having grown up to a motorik being, the determined goal however never appears. The journey into a perfect storm is the reward. Maayan sends you some motivating words.
Then have a break and jump on the light train of thoughts to enjoy blurred reflections: on the water and in your mind. Sing your body beautiful and free. Words come in bubbles, a heart-throb away from a light tower. Feel like stumbling into new adventures on a pathless terrain.
Slowly and cautious, the novemberme, which is the one that approaches dawn, celebrates tristesse with a funny accent. Kick the blues with a beat. Somewhere lost but regenerated, find sisyphos’ generator of vitality. A nascent religious mood at the Autobahn service station fades into the fog.
Finally, the circle of pace is almost closed. After laughter of amazement, Maayan leaves you with a soothing mantra of confidence: an everyday ritual fun you should indulge yourself in. It comes in waves.

Hailu Mergia & Dahlak Band's Wede Harer Guzo is the third release on Awesome Tapes From Africa for Ethiopian keyboard and accordion maestro. In the years since Shemonmuanaye, Mergia has revamped his touring career, playing festivals and clubs worldwide, including a recent tour supporting Beirut. By 1978, Addis Ababa's nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6:00 am. But that didn't stop some people from dancing and partying through the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning. One key denizen of Addis' musical golden age, Hailu Mergia, was preparing a follow-up to his seminal Tche Belew LP with the famed Walias Band. It was the band's only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band's afternoon rehearsal meetings, with sessions lasting three days. Dahlak Band catered to a slightly more youthful, local audience, while Mergia's main gig with the Walias at Addis' swankiest hotel had a mixed audience that included wealthy Ethiopians, foreign diplomats and older folks from abroad. Therefore, their sets featured lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile, Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd. Mergia released Wede Harer Guzo ("Journey to Harer," a city in eastern Ethiopia) with Sheba Music Shop, which was located in the Piazza district but has long since shut down. His cassette copy is the only known source we could find. Jessica Thompson at Coast Mastering managed to restore the recording to clean up layers of hiss, flutter and distorted frequencies, made worse by years of storage. Although there are some remaining sonic artifacts of the era's recording and cassette duplicating quality, this reissue captures the band's inimitable vibe. Recalling the audience's positive reaction to Wede Harer Guzo's novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there's no indication as to why the cassette appears largely forgotten until now

Die englische Rockband ASIA, die 1981 in London
gegründet wurde, verkaufte mehrfach Platin und gilt
weltweit als Superstars. "Heat Of The Moment", eine
riesige Soft-Rock-Hymne mit anhaltendem, weltweitem
Radioerfolg, ist ihr bestes und bekanntestes Stück, das in
über einem Dutzend Ländern die Top 40 erreichte. Diese
mitreißende Live-Show mit 18 Titeln von der Welttournee
zum 25-jährigen Jubiläum von Asia im Jahr 2007 zeigt die
neu formierte Originalbesetzung mit Sänger/Bassist John
Wetton von King Crimson, Gitarrist Steve Howe und
Keyboarder Geoff Downes von Yes und Schlagzeuger
Carl Palmer von Emerson, Lake & Palmer. Das Album
wurde am 8. März 2007 in der "Shinjuku Kosei Nenkin
Hall" in Tokio, Japan, aufgenommen und erscheint
erstmals auf Vinyl.
Das Booklet dieser neuen 3LP-Veröffentlichung enthält
seltene Fotos und Anmerkungen des bekannten
Asia-Autors Dave Gallant mit Originalzitaten der
Bandmitglieder. Das Cover-Artwork stammt von dem
legendären Designer Roger Dean, der alle Original-Cover
der Asia-Alben entworfen hat. "Fantasia" ist eine
beeindruckende Erinnerung an das majestätische
Vermächtnis dieser unglaublichen Band und an den
künstlerischen Werdegang der vier Originalmitglieder von
Asia. Dieses wegweisende Konzert ist ein unverzichtbares
Set

Das Debüt-Solo-Album von Billy Howerdel (A Perfect
Circle) nun auch auf Vinyl erhältlich.
Der in New Jersey geborene und in Los Angeles
lebende Sänger, Multiinstrumentalist, Produzent und
Komponist Billy Howerdel (A Perfect Circle) hat sich in
aller Stille als Musik-Autor mit einem ausgeprägten
emotionalen Verständnis, klanglicher Schärfe und einem
Händchen für große Hooks durchgesetzt. Nachdem er
Pink Floyd live erlebt hatte, widmete er sein Leben der
Musik und arbeitete als gefragter Tournee-und
Studiotechniker für Bands wie David Bowie, Guns N'
Roses und Nine Inch Nails

Within any creative expression about love there's a shared experience, a sentiment hard to articulate but understood through emotion. One of the defining examples of a song that holds such sincerity is 'My Heart Is Broken' by 'The Four Dudes'.

Charles 'Pooky' Russell, the lead singer of 'The Four Dudes' shares his story of a broken heart; his ambition to pursue a life immersed in music is what led Charles to leave his hometown of San Antonio for Houston and in doing so, leaving his lady. Charles' music career began whilst studying at Sam Houston High during the mid-60s. During choir is where he met Reginald Whitaker & Lawrence Alexander, and the trio would go on to establish their first vocal harmony group, 'The Three Dudes'. The Dudes, inspired by groups such as The Cadillacs & The Platters, would gain a strong local following that led to their first single 'Sad Little Boy' & 'I'm Beggin' You' produced & released in 1967 on E.J. Henke's 'Satin' label.

By 1969, 'The Three Dudes' had become 'The Four Dudes' with the addition of Kenneth Ball. The Dudes had made the decision to pursue a full time career with their music and the opportunities available Houston propelled the move. Within the first year 'The Four Dudes' had found themselves a manager, James Davis, whom pieced the vocal group with Houston's own 'The Heavy Accents Band'. The group were gaining notoriety around town, performing several times a week, which led Davis to bring the outfit into the studio to release a single on his independent label, 'Sivad-J'. It was when Davis heard 'My Heart Is Broken' for the first time that they decided this would be the single, and within the same year would be recorded at SugarHill Studios & released as a 7" single.

The sincerity of the song is what serenaded Houston across the airwaves in 69', a staple for George 'Boogaloo' Frazier on his show for KYOK 1590 AM amongst many others. The single became a local hit however, due to the lack of distribution and small pressing, the single barely made it out the city limits. 'The Four Dudes' continued to perform in Houston for 3/4 more years before heading to Philadelphia and forming a group called 'Image'.

For the first time since its 1969 release, 'The Four Dudes' single is once again available through Symphonical Records as a limited 7" pressing. Licensed directly through the Davis family with the approval of Charles Russell.

"Hello It’s Me" sings Signe Marie Rustad in her crystal clear, inimitable voice. And with that, she’s back, three years after the release of her successful third album, When Words Flew Freely. The above lyric is taken from a song bearing the same name, the first single off Rustad’s fourth album, Particles of Faith. Known for her poetic lyrics and vivid songwriting, and backed by a tight knit band that’s been with her for years, Rustad’s new album offers a natural transition from the already classic When Words Flew Freely (WWFF). However, Particles of Faith also brings something completely new and fresh. WWFF presented a broader, organic and piano-driven Laurel Canyon-sound, and less of the americana sound present on Rustad’s first two releases. Particles of Faith is harder to place in any genre, other than in the broader singer-songwriter tradition, helmed by pioneers such as Joni Mitchell and Carole King. But Rustad also points to a host of other inspirations. Alternative pop/rock from the 80’s and 90’s have always been a big influence on Rustad, and on Particles of Faith, this is more evident than ever. R.E.M., Fiona Apple, Crowded House and Tori Amos were important components both in the artist’s record collection and on her TV screen via MTV. Seeing as this era was also the golden age of the saxophone, it was only natural to include a three-minute-long sax solo, courtesy of acclaimed Norwegian jazz musician Harald Lassen – a solo that “made me cry” says Rustad. The album is produced by Rustad along with indie pop hero Kenneth Ishak. “This is the music coursing through my veins,” says Rustad about the album. Rustad has been critically acclaimed ever since her 2012 debut, but with WWFF, things really took off. Rave reviews, inclusion on several year-end lists, live performance on Norway’s biggest talk show and a booking to Norway’s biggest festival followed the release. The album was awarded a Spellemann award (Norwegian Grammy) for lyricist of the year. After widespread touring since the fall of 2019, Rustad’s performance on Øyafestivalen’s main stage in August 2022, marked the wrap up of the WWFF project, while it simultaneously introduced the next chapter, announcing the new album with the performance of two new songs. The songs on the album are snapshots from a life, and “particles of faith” refers to keeping the faith in yourself, love, the people around you and the world in general throughout everything that you endure in life. It can be a kind of strength that you may think comes from the outside, but is actually found inside of us.

In the two years since their last full length outing, Let There Be Nothing, JUDICATOR have returned from collective and personal turmoil brought on by both the Covid-19 pandemic and foundational lineup changes. The US power metal group are now primed and proud to release their triumphant sixth studio album, The Majesty of Decay, via Prosthetic Records. Refreshed and revitalized, JUDICATOR are eager to let this beastly album out of the gate and into your stereos. Whilst the album’s story remains somewhat shrouded in mystery, JUDICATOR utilizes compelling plot devices as a means to encourage fans to piece together the album’s meta-contextual threads. What we do know, however, is that The Majesty of Decay explores the subjects of love, family, and the transformation of suffering into something meaningful. JUDICATOR invites you to step into this world and contemplate how the story might relate to you. The album is a carefully constructed puzzle of mirrors and metaphor that cries out for Judicator fans everywhere to solve it. What began as a humble homage to their favorite band quickly grew into something that hads fans begging for more, and JUDICATOR is happy to oblige. The band has produced a catalog of music that spans multiple sub-genres and breaks conceptual boundaries. With this latest offering, The Majesty of Decay, JUDICATOR have delivered yet another thought provoking album that fits nicely into their discography.

"Hello It’s Me" sings Signe Marie Rustad in her crystal clear, inimitable voice. And with that, she’s back, three years after the release of her successful third album, When Words Flew Freely. The above lyric is taken from a song bearing the same name, the first single off Rustad’s fourth album, Particles of Faith.

Known for her poetic lyrics and vivid songwriting, and backed by a tight knit band that’s been with her for years, Rustad’s new album offers a natural transition from the already classic When Words Flew Freely (WWFF). However, Particles of Faith also brings something completely new and fresh.

WWFF presented a broader, organic and piano-driven Laurel Canyon-sound, and less of the americana sound present on Rustad’s first two releases. Particles of Faith is harder to place in any genre, other than in the broader singer-songwriter tradition, helmed by pioneers such as Joni Mitchell and Carole King. But Rustad also points to a host of other inspirations.

Alternative pop/rock from the 80’s and 90’s have always been a big influence on Rustad, and on Particles of Faith, this is more evident than ever. R.E.M., Fiona Apple, Crowded House and Tori Amos were important components both in the artist’s record collection and on her TV screen via MTV. Seeing as this era was also the golden age of the saxophone, it was only natural to include a three-minute-long sax solo, courtesy of acclaimed Norwegian jazz musician Harald Lassen – a solo that “made me cry” says Rustad. The album is produced by Rustad along with indie pop hero Kenneth Ishak. “This is the music coursing through my veins,” says Rustad about the album.

Rustad has been critically acclaimed ever since her 2012 debut, but with WWFF, things really took off. Rave reviews, inclusion on several year-end lists, live performance on Norway’s biggest talk show and a booking to Norway’s biggest festival followed the release. The album was awarded a Spellemann award (Norwegian Grammy) for lyricist of the year. After widespread touring since the fall of 2019, Rustad’s performance on Øyafestivalen’s main stage in August 2022, marked the wrap up of the WWFF project, while it simultaneously introduced the next chapter, announcing the new album with the performance of two new songs.

The songs on the album are snapshots from a life, and “particles of faith” refers to keeping the faith in yourself, love, the people around you and the world in general throughout everything that you endure in life. It can be a kind of strength that you may think comes from the outside, but is actually found inside of us.

Little is known of GROUP, and their origins. However it has been heard on the grapevine, that it is a top secret collaborative project between Uk Hip Hop legends Jehst & Lee Scott - The EP also features legendary Detroit rap hero Quelle Chris. . This is their second EP as the illusive GROUP, 'GROUP 1' is now a highly sought after collectible, Not to be slept on!

It seems fitting that a trilogy of albums celebrating nature should conclude some eight years after its second chapter. Manchester-via-Todmorden based instrumental trio Plank’s first two LPs – 2012’s kosmiche-inspired Animalism and 2014’s more expansive and structurally disruptive follow-up Hivemind – enjoyed relatively quick gestation periods. However, Plank are firm believers in letting nature run its course, and so it is that their third LP Future of the Sea arrives early in 2023. “I always knew I wanted to make three albums inspired by nature” says Plank main-man David Rowe (synths / guitar). “Future of the Sea is another exploration into odd time signatures and traditional rock instruments alongside synths and electronics.”

“Future of the Sea is a celebration of the power and majesty of our oceans and how humankind has been destroying them through industrial scale fishing and global warming” says Rowe. “Rachel Carson put it more eloquently in her book The Sea Around Us: ‘It is a curious situation that the sea, from which life first arose should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’” A post apocalyptic underwater city scape adorns the cover in an illustration by Jake Blanchard, whose work you'll also see on Richard Dawson's latest album 'The Ruby Cord'.
The synthetic nature of Plank’s sprawling rock odysseys feel at their most pronounced on Future of the Sea which leans to the band’s love of Pink Floyd era Meddle, Camel, film score composers like John Carpenter and Vangelis, 70s experimentalists Harmonia, 1980s King Crimson and 90s post-rock adjacent group Tortoise. In polyrhythmic dexterity if not heaviness, Plank also take some influence from Meshuggah, and it’s in their movement between the 16 minute final album track’s sections that it feels most prominent. They swerve from crunching stoner rock jams to more ambient spatial explorations, crescendoing progressive peaks, 80s synth pop and finally a crushing riff-laden finale.

Idlewild South is the second studio album by American southern rock band the Allman Brothers Band. Produced by Tom Dowd, the album was released on September 23, 1970 in the United States by Atco Records and Capricorn Records. Following the release of their 1969 debut, the Allman Brothers Band toured the United States extensively to promote the album, which had little commercial success. Their performances, however, did create positive word of mouth exposure that extended to more famous musicians, such as Eric Clapton, who invited group leader Duane Allman to contribute to his 1970 album Layla and Other Assorted Love Songs.

“Baile en el Infierno” & “Villa Incepciòn” are the new singles from Bogota-based cumbia band Conjunto Media Luna. Directed by accordionist and producer Ivan Medellin, Conjunto Media Luna makes a sound shift towards fresher and more street sounds influenced by the Sonideros from Monterrey, and the Chicano movement of the Low Rider Kumbias from California. However, Conjunto Media Luna still sticks to their roots by homaging the original format of the traditional Cumbia Sabanera from the Montes de Maria region of Colombia and including accordion licks that remind of Andres Landero’s style.
Edition of 500 copies, coming in a plastic sleeve including artwork printed cardboard.
Pressed on high quality Black vinyl wax (40 gr.).

Magenta Vinyl

“Baile en el Infierno” & “Villa Incepciòn” are the new singles from Bogota-based cumbia band Conjunto Media Luna. Directed by accordionist and producer Ivan Medellin, Conjunto Media Luna makes a sound shift towards fresher and more street sounds influenced by the Sonideros from Monterrey, and the Chicano movement of the Low Rider Kumbias from California. However, Conjunto Media Luna still sticks to their roots by homaging the original format of the traditional Cumbia Sabanera from the Montes de Maria region of Colombia and including accordion licks that remind of Andres Landero’s style.
Edition of 500 copies, coming in a plastic sleeve including artwork printed cardboard.
Pressed on high quality Black vinyl wax (40 gr.).

The original soundtrack for “Il Casanova di Federico Fellini” (1976) sees Nino Rota putting into music Federico Fellini’s opus on the legendary Venetian icon and “tombeur des femmes” Giacomo Casanova.
Winner of an Oscar for Best Costumes in 1977, the film is one of Fellini's finest, a grotesque and hyperbolic take on the life of Casanova that is matched by Rota’s compositions.
“Il Casanova di Federico Fellini” possibly is one of Rota’s most eerie and enigmatic scores, as if the Maestro had finally poured into a soundtrack all of his love for esotericism.
The music wraps you up like the Venetian mist. The compositions are constantly on the edge of classical music with playful nuances and the use of instruments like viola and cello. Vocals become a cornerstone, echoing the tradition of 18th century Italian opera. However, Rota also leaves room for more experimental and estranging vibes that make the soundtrack a one-of-a-kind voyage into the creativity of the Maestro.

2023 repress of Low Life's second album from 2019 on coloured vinyl, in a single LP sleeve with insert. Colour effect is a seafoam green smear with a transparent base. Arriving with an aura of anticipation, 'Downer Edn' (read: Edition) feels like a collective document of the band's timeline since their unforgettable debut `Dogging'. Recorded over two years and mixed in 2018 by Mikey Young (Total Control / Eddy Current Suppression Ring), `Downer Edn' sees the core trio of Mitch Tolman, Cristian O'Sullivan and Greg Alfaro expand their ranks to a five piece. Dizzy Daldal and Yuta Matsumura of Oily Boys & Orion were brought in to reinforce the thick wall of guitars, freeing Tolman up as a dedicated front man for live duties. The hours of studio work have resulted in the band sounding more confident and fully realised, reaching and finding a sound that was perhaps unattainable 5 years prior. However, lurking behind the bigger vision and polished production, `Downer Edn remains a dark blast of an album. Expansive and cohesive, yet shimmering and rough; something they can be proud to call a definitive statement. As far as Australian punk is concerned, Downer Edition not only shatters the boundaries applied by that descriptor, it does so with the lushest attack conceivable. The visceral pounding of melodies throughout the album transforms their inspirations; desperation, neuroses, trauma, survival, hooliganism, violence, hope, rejuvenation, and their hometown of Sydney's full architectural and social scope - from a realm of intangibility to the very, very tangible. Unified on `RBB,' ruminating on `92', chasing the escape on `Rave Slave,' and unwillingly defiant on `Warrior,' Downer Edition reaches past the wild ride of Dogging - this truly is the album that Low Life have been threatening to make for nearly a decade. Released in conjunction with Goner Records in the USA and Cool Death in Australia.

THE CULT DEBUT ALBUM OF INDUSTRIAL BLACK METAL FROM THE
NORWEGIAN PIONEERS, PRESENTED ON VINYL FORMAT WITH
ORIGINAL COVER ART
One of the pioneering industrial black metal forces to emerge in the early 90's,
Mysticum brought to the world a completely unique brand of extreme &
psychedelic discordant black metal with insane drum machine patterns & synths.
They were originally signed to Euronymous' Deathlike Silence Productions label;
such was his belief in the band (Mysticum even featured Hellhammer from
Mayhem in their line-up for a brief period). However, this venture proved to be cut
short following his death, forcing Mysticum to look elsewhere for the release of
their eventual debut album, 'In The Streams Of Inferno', finally surfacing in 1996.
A perfect concoction of cold, primitive black metal & forward-thinking ideas from
an act unafraid to push boundaries, the hell of 'In The Streams Of Inferno' has had
a lasting & profound impact on many since 1996. For this release, the album has
had some extensive remastering work courtesy of Tom Kvålsvoll at Strype
Studios in Oslo to give a better representation of the sound the band initially
intended & includes 2 bonus songs in the form of 'Eriaminell' & 'Black Magic
Mushrooms'.
This vinyl edition of 'In the Streams Of Inferno' includes the original's cover art,
plus printed inner sleeve.

Rubinho E Mauro Assumpção's 'Perfeitamente, Justamente Quando Cheguei' has to be up there as one of the finest Brazilian-psych-folk-MPB records we know. Unfortunately, it's very hard to find in the wild; even on digging trips to Brazil, an original copy rarely shows up, and when it does, it comes with a hefty price tag.

This highly sought-after rarity was released on the Brazilian label Tapecar Records in 1972 and is the one and only album by the sensational pairing of Rubinho and Mauro Assumpção. Effortlessly blending folk, MPB, funky-psych, rock, and relaxed, swaggering samba, this record ought to be heralded as a true Brazilian classic. However, maybe due to its scarcity and the previous reissue predominantly being only available to the Brazilian market, it has not had a chance to fully shine and find the wider audience it deserves. Through our reissue we hope to put things right. Fans of records by Milton Nascimento and Lô Borges are sure to enjoy the same magic and allure in 'Perfeitamente, Justamente Quando Cheguei'.

In addition to being the album’s songwriters, Mauro Assumpção took on the role of producer and Rubinho was co-producer as well as playing piano, organ, acoustic guitar and performing vocals. The record features the drummer Gegê who worked with Milton Nascimento, Edu Lobo, Nana Caymmi, Dom Um Romão and more. It also features guitarist Rick Ferreira, who played with Erasmo Carlos, Gal Costa and other greats. Rounding off the players on the album are Darcy Da Cruz and Formiga who have graced many a fine recording on horns.

'Perfeitamente, Justamente Quando Cheguei' is a truly stunning work that washes over you with beauty. Delve in and savour.

As one of the three co-founders of Washington D.C. production and DJ trio Black Rave Culture, James Bangura is no stranger to situating electronic music within its most purposeful and potent contexts. With this new duo of tracks, however, Bangura taps into a deep, personal internality, metabolising visceral experiences and personal transitions into unexplored phases of his musical life.

The bass-forward “Harrar” is a complex organism which operates on two planes: a sweat-drenched 150pm symphony of synth pulses, fidgety percussion, shimmies and distorted vocals, that falls into lockstep with a
meditative, dubby bass tone that calmly swells and recedes. Emerging out of Bangura’s high intensity hardware jam sessions with friends and collaborators, both the depth and energetic fizz of “Harrar”’ are signified by its name, borrowed from Harrar Coffee & Roastery--a beloved Ethiopian coffee house and community meeting place in Washington D.C. that radiates warmth and familiarity.

“Witness Dub” occupies less of the senses, exploring a state of liminality through a contemplative deep house signature. Having emerged from an extended period of active duty in the military, Bangura had to navigate civilian life for the first time, causing him to process multiple culture shocks that stretched across culture, language, communication and identity. “Witness Dub” finds Bangura at this crossroad, juxtaposing the steady propulsion of kicks and drums with pensive minor key chords, as he begins to explore the other side of the self, letting the energy guide the music.

An EP whose purpose denounces our society’s thirst for technological progress, essentially fed with analogical instruments and sounds evoking the beginnings of techno in the late 80s and early 90s. However, if the timeless sounds of the EP evoke the past, the music of Cuften alchemizes a contemporary, inventive sound and an anti-commercial approach. A nostalgic music that deconstructs the rave heritage towards futuristic sounds, with the help of his old analogical synthesizers. A rather raw and rave first approach where the groove is however omnipresent, making Cuften's music a resolutely accessible and federative whole with its combination of D.I.Y aesthetics and vocals, mixed with an ingenious and inventive technique on the machines.

The EP opens with Animal Suicide, a melancholic and analogical melody, dark and luminous, progressively settling towards a rave rhythmic with a powerful kick. A vaporous and vintage electro with a futuristic look with its vocoded voice and its cinematographic touches.

No More Sunday Regrets is more experimental and brutal at first before giving way to a synthetic and psychedelic melody with singular rhythms and organic synths.

Unibios captivates with its luminous melody before a bewitching acid line which snakes gradually settles, accompanied by a heavy bassline.

Heart Particles calls out with a sharp contrast, with its soft voice and melody, as if the shuffle mode had landed us on an ambient record. The tempo increases progressively with an acid line and a slow and powerful rhythms, between the psychedelia of The Orb and Warp’s reveries of the 90's.

Final track is a remix by Dutch pioneer Legowelt, master of synthesizers and underground electro who has always been a great source of inspiration for Cuften.

2022 Repress !

Disco Club is a groundbreaking 1978 EP of experimental electronic
disco created by Fèvre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself.

‘Living Rooms’ is a full-blooded debut of rich, playful, experimental pop from the artist Fe Salomon – full of unabashedly big songs and sumptuously big sounds. Fe’s soulful and arresting lead vocals weave amongst soaring strings and big band brass sections; clattering percussion and disjunctive rhythms; dirty electro synth and butchered guitar. A collaboration with producer and contemporary classical composer Johnny Parry, ‘Living Rooms’ is a true pop album with a distinct, exuberant and deeply generous sound.

Born in Northampton, Fe moved to London at 18 for a place at Theatre College; but soon left to concentrate on music and songwriting, falling quickly into the Camden music scene, and earning her a prolific career as a singer. Building on her diverse musical background and honing her unusual sonic style, this album has been percolating at the back of Fe’s mind for a long time. The perfect storm of personal and external factors thus created the moment to make it. ‘Living Rooms’ tells stories of multiple lives lived and lost

in the city, of friendships that meant everything and the characters you’ll never meet again, of transience and loneliness, and of getting by and moving on.

At the forefront of the album is an organic and fiercely honest lead vocal performance. However, Fe permits her voice to be twisted and distorted into the fabric of the instrumentation. The un-doctored lead vocals are frequently haunted by angels and demons, created through Fe’s uninhibited willingness to this manipulation, and capturing the more visceral emotions within the expression of the human voice.

‘Living Rooms’ navigates a wide spectrum of sounds and emotions. Take album opener “Polka Dot”, a track that mixes emotive vocals with an avant-garde alt/pop production to conjure a cut as stylish as it is shrouded in shadowy mystique. A track “about mourning innocence, and the darkness that’s picked up along the way, with an ‘up yours’ sarcastic tone, and not wanting to grow old”, it sets the scene for a twisting collection that up-ends expectations at every opportunity.

Elsewhere, the chunky hooks of “Super Human”, the sci-fi/country/big band of “Wired of Caffeine”, or the intimately sung vocals and Vaughan-Williams-esque string sections of “Taxicabs”, all contribute to an album that evolves like a rich and constantly surprising tapestry.

Although the conception of the album was a frenzy of wild experimentation. The album is faithful too, and celebratory of many joyous pop traditions; but searches for ways to reinterpret the familiar. And no less so than on the off-kilter centre-piece “Quintessential England”. Through wry lyricism and vivid imagination, the track paints a lucid, if lonely, depiction of a life lived out in the sticks; one that ultimately arrives at the conclusion that perhaps “the grass isn’t always greener”.

Gifted with the kind of superpowers that have blessed Alison Goldfrapp with her unwavering glam-pop allure and Stevie Nicks with that invincible soul, Fe Salomon’s empowering first release will prove she’s cut from the same cloth and ready to be your newest musical hero.

A Jazzman’s Blues is the 2022 Netflix drama film written, produced, and directed by Tyler Perry. It stars Joshua Boone, Amirah Vann, Solea Pfeiffer, Austin Scott, and Ryan Eggold a.o. The film centers on the forbidden romance between Bayou and Leanne who are best friends. They fall in love as soon as they cross paths, however Leanne’s mother forbids their union and forcefully takes Leanne with her to Boston.

The orchestral music in A Jazzman’s Blues was composed by the classically trained composer Aaron Zigman, who has previously scored music for films including The Notebook, The Company Men and Sex & the City. He has also written, arranged, and produced for artists including Quincy Jones, John Legend, Phil Collins, Christina Aguilera, and Aretha Franklin amongst many others. The songs of this score have been arranged and produced by Oscar-nominated trumpeter and composer Terence Blanchard. He has been nominated for composing the scores for BlacKkKlansman and Da 5 Bloods.

The soundtrack features vocals by the cast members, including Joshua Boone, Amirah Vann and Austin Scott.

AJazzman’s Blues is housed in a gatefold sleeve and includes an unfolded “paper plane” insert with lyrics of Ruth B.’s song “Paper Airplane”.

French pianist Melaine Dalibert, known for his releases on contemporary music labels such as Another Timbre and Elsewhere, his work with David Sylvian, Ensemble 0, Sylvain Chauveau, and world premieres from Gérard Pesson, Giuliano D'Angiolini, Michael-Vincent Waller, Tom Johnson, has signed with FLAU in Japan to release a new album Magic Square.

Across the album's eight tracks, the French pianist and composer takes listeners on a "fantasy journey". Travel is at the heart of Magic Square, but not of the physical kind. Instead, his emotive and intriguing piano pieces inspire inward travel and daydreaming, reflecting the past two years of pandemic and introspection.

Having received his training in Rennes and the conservatories of Paris, Dalibert has a musical background that is naturally entrenched in the technical aesthetic of classical music. However, experimenting with algorithmic ways of writing and other mathematical concepts such as fractals, Dalibert's music combines emotion and logic for captivating results. His music has been played on BBC Radio, Radio France and NTS Radio, among others.

“Melaine Dalibert, himself a composer whose works similarly deal in patience and space, is an ideal interpreter « As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language. » (Mark Medwin, Dusted Magazine, juillet 2021) of such beguilingly modest music, and this sensitive recording lets every detail resound.”
Steve Smith — The New-Yorker

“compositions by French pianist Melaine Dalibert, is a warm stream of harmonious ripples that echoes the graceful postclassical music of Max Richter, Ólafur Arnalds, Jóhann Jóhannsson, etc, but the economy and precision, combined with Dalibert’s calm hands on the keys, put it on a whole other level of beauty.”
Derek Walmsley — the WIRE

“As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language.”
Mark Medwin — Dusted Magazine

“Dalibert is one of the most effortlessly talented and subtlety creative pianists at work today”
Roger Batty — Musique Machine

“Au-delà des genres et au dessus de ce monde, le pianiste français Melaine Dalibert continue d’échafauder une œuvre d’un autre temps, d’un futur à construire avec une musique qui doit autant à Federico Mompou qu’à l’Acousmatique. Night Blossoms, son dernier disque en date (avec la participation de David Sylvian sur deux titres) est une pure merveille !”
Greg Bod — Benzine Mag

“La musique de Melaine Dalibert, héritière de cinquante ans d’expériences minimalistes, correspond à l’impérieux besoin du public d’aujourd’hui de cultiver un hors-temps et de se plonger au cœur du son. Elle y répond parfaitement”
Guillaume Kosmicki — Res Musica

“Comment des pièces reposant sur des constructions aussi abstraites et rigoureuses peuvent-elles susciter autant d’émotion à l’écoute ? La musique de Melaine Dalibert projette l’auditeur dans un univers où l’assommant temps quotidien n’a plus cours. Plus de mesure, plus de début ni de fin : pour qui accepte de se laisser prendre, Night Blossoms fait perdre tous les repères du commensurable”
Guillaume Kosmicki — Hémisphère Son

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

Mysticisms keeps the Dubplate series moving, welcoming one of the seminal Dub producers of all time in Scientist. His unique studio techniques and understanding of rhythm are exalted and present on Step It Up, an enlightening example of his genius and matched with a widescreen remix by label associate DJN4, aka DJ Normal 4, teaming up with fellow Dusseldorf producer AKI AKI, to offer a dreamland breaks-steppers anthem.
The fact that Hopeton Overton Brown aka Scientist is one of the true pioneers of Dub music is undisputed. His productions, first as an apprentice at Studio One, then breaking through whilst teamed at King Tubby's studio, led to Channel One and a series of seminal Dub masterpieces throughout the 1980s, mixing engineer Henry 'Junjo' Lawes' productions with the Roots Radics, alongside vocalists Barrington Levy, Jonny Osbourne and Jah Thomas.

Step It Up precedes, taken from the period of seminal Tubby's work with Bunny Lee and in this instance, with Barry Brown classic vocals and Lee's house band, The Aggravators, backing. As often with Reggae's history, much is disputed, however, this unmistakable Scientist production showcases Brown's high pass filters in effect, the trademark riding 4/4, utilising the 4 track mixing desk to create a joyous bounce.

Working on the license from the outset, Tim Schumacher aka DJN4, waited in the wings to dive in the desk for a modern-day remix. Partnering with up-and-coming producer Aki Vierboom (Phaserboys / Candomble), the Digi-Dance MixX is bass-quaking histrionics, a steppers meets rave culture overdose that will be heard from festivals to dancehalls, a righteous dub-breaks riddim y'all.

Step the Mystery

Thy Socialite!, the first release from Field Music"s new record label Daylight Saving Records, is not the sound of Lloyd Webber quivering and sweating in a rotting Berlin flat but instead, a fun, joyous, audacious record of hard rock, glam, and pop that ranges from arena to art school. "I wanted to include a more rockist palette," Black says. "My last album, Higgledypiggledy, had influences including The Cardiacs, Prince and The Residents. For this one I wanted to see what I could get out of less indie audience friendly artists such as Toto, Sweet, Wings, Def Leppard and ZZ Top and merge it with a SLUG sensibility. Due to the more rock approach, I was happy for the album to become a big classic rock unit - pompous even." However, simply a pastiche and nostalgic throwback this isn"t. Despite the playful nods to some of the more grandiose, theatrical and overblown elements of the aforementioned genre, it"s also an album with a contemporary pop edge, slick production and a tangible connection to SLUG"s previous deft mix of indie, rock and art pop. The result of all of this is an album that is fun and unpredictable but also conceptually smart, ambitious and adventurous. A place where classic hard rock and smart art-pop are treated equal, and where taking the piss doesn"t have to equate to being novelty or disposable. It was all part of the challenge that Black set himself from the off when he asked himself "how could I challenge the SLUG listener but bring them on a new fresh journey which will confuse them at first but they will ultimately love?"

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.

When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.

As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date

Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.

The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.

When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.

As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date

Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.

The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones

Led by the dynamic Frederick ‘Toots’ Hibbert, the Maytals are rightly regarded as one of the greatest singing trios in the history of Jamaican music. During an incredible recording career that spanned six decades, the group scored hit after hit on the island’s music charts, with their inimitable, unique blend of fervent gospel and downhome country seemingly impervious to changes in styles and fashion.
The best of their work, however, is widely regarded to be their rock steady and early reggae recordings for Leslie Kong’s revered Beverley’s Records during the late Sixties and early Seventies; a period that spawned groundbreaking work such as ’54 46’, ‘Monkey Man’ and ‘Do the Reggay’, to name but a few.
The Essential Artist Collection brings together the very best of their output from this period, including the above tracks, along with numerous other classics, such as ‘Sweet And Dandy’, ‘Pressure Drop’ and ‘Night And Day’.
Available as a 28 track double vinyl LP and a comprehensive 2CD compilation, both collections superbly demonstrate just why the unforgettable music of the Maytals will continued to be loved and revered for many years to come.

Triple coloured vinyl version (Each disc is a different colour) of the double CD that came out on Cherry Red in 2021 Presented in Tri-fold gatefold sleeve with 16 page 12x12 colour booklet, poster & photograph.
ONLY 350 COPIES WORLDWIDE
Among the first crop of Creation Records bands in the mid-1980s, THE LOFT seemed the most likely to break through. Following the success of The Smiths, guitar-based independent pop was in vogue, Alan McGee’s Creation label was turning heads – its bands blending 60s psychedelia, the melodic end of punk and a new sound which would soon be immortalised on NME’s C86 cassette. And in this London quartet, Creation had their answer to bands like Television, The Only Ones or early Modern Lovers, offering taut, off-kilter songs with an irresistibly deadpan cool.
Sadly, after just two singles, 1984’s downbeat debut ‘Why Does The Rain’ and the punchier sequel, ‘Up The Hill And Down The Slope’ – an indie hit which the band performed live on TV show The Oxford Road Show, The Loft dissolved, with various members founding new bands The Weather Prophets, The Caretaker Race and The Wishing Stones. They left behind seven studio tracks, a BBC Radio 1 session for Janice Long and one track from a Creation LP documenting the scene’s roots in small club The Living Room.
However, The Loft’s legend endured, eventually prompting a reunion in the early 2000s with all four original members – singer/songwriter/guitarist Pete Astor, guitarist Andy Strickland, bassist Bill Prince and drummer Dave Morgan. Alongside various well-received live shows, that led to a new single, ‘Model Village’ (2006) and more recently a session for Gideon Coe on BBC 6 Music (2015). The Loft’s reputation as founding fathers of a new breed of mid-80s indie pop continues to grow to this day, with the band often cited as an influence.
Compiled and coordinated by the band, Ghost Trains & Country Lanes expands on previous retrospectives of The Loft, adding those reunion recordings (including three previously unissued tracks), the Gideon Coe session and several live recordings from that historic performance at The Living Room back in 1984. (including many exclusive songs which were never recorded in the studio).
With new sleeve-notes by Danny Kelly, this is the definite tribute to The Loft

Masters of anthemic rock ‘n’ roll Black Star Riders (The former Thin Lizzy
members) return with their hugely anticipated 5th studio album by
Earache records
Featuring 11 tracks, it was recorded in the Autumn of 2021 at Studio 606 in
Northridge California and Toochtoon Sound in Redmond Oregon with producer
and long time BSR associate, Jay Ruston. With Ricky Warwick on Lead Vocals /
Guitar, Robert Crane on Bass, Christian Martucci on Guitar and drummer Zak St.
About the album Ricky says “I am very proud of this record, Black Star Riders
fifth release and the first with our new and exciting relationship with Earache
Records. As with all BSR albums, ‘Wrong Side Of Paradise’ is an anthemic
statement of intent, driven by ferocious guitars and thundering drums. I can only
write about my own personal experiences, my families, my friends and how I see
a world that is unravelling and changing faster than we can comprehend. I’m a
firm believer however, in the power of positivity, something that echoes
throughout this album”.

Pressing Info: 180g 'muddy water' (transparent green) vinyl, mono audio, printed inner sleeve, hand numbered, limited to 500. As part of their ongoing King Gizzard bootleg series, Fuzz Club are releasing a mono version of 'Polygondwanaland' - the Aussie psych legend's twelfth studio album and the bootleg that started it all. Polygondwanaland first appeared as a partial leak on the band's demos for the album. The leak was uploaded to SoundCloud but was soon taken down. As a result, news of the album was scarce and mostly involved rumours, one of which stated that it would be the last of the five albums released in 2017. The track "Crumbling Castle," which appeared on the demo, was performed live by the band as early as September 2016, albeit in a much shorter form. However, it lay dormant for many months during an especially prolific period for the band, leading to speculation that the track might have been scrapped. Both the track and the music video were finally released on 18 October 2017, exactly one year after the first performance of the song was uploaded to YouTube. The legitimacy of the demos was all but confirmed at this point, as not only did the track feature the album's name in the lyrics, but it also contained lengthy musical passages equal in duration to the demo. Polygondwanaland was officially announced on the band's Facebook page on 14 November 2017. The release date and cover art were publicized by the band, who stated, "This album is FREE. Free as in, free," encouraging fans to make their own copies and bootlegs of the album.

The fifth release on Blue Matter is a debut album from a guy whose performance and writing would easily give the impression that he is a seasoned campaigner. The confidence and the musicality are of a standard rarely heard. Michael Cullen Murphy was born and raised in Nashville, and moved to the UK when he was 11. His father was friends with the great Peter Rowan and many other country and folk artists, and since childhood, understandably, Mike has been dabbling in folk and country. However, Mike is better known as a reggae specialist, and has kept his special musical talents extremely quiet. Even though we had been friends with Mike for years, we had no idea he was an accomplished singer, player and songwriter, which is why we were so amazed when he played us the almost completed album. Not only does he have a great singing voice, but his songs have an impressive depth and sense of melody. If one had to put some kind of label on the music contained within this record, it would probably contain the words 'Americana' and 'folk’, but that doesn't tell the whole story. There are touches of classic singer/songwriter and psychedelia too. Suffice to say, you need to give it a listen and decide for yourself. Blue Matter are really proud to be able to release this fabulous debut album. We think Mike Murphy certainly has all the necessary credentials to make his mark. Will it happen? Who knows? Your call, folks.

Ready for a bit of new rocking punk with just a touch of garage psych thrown in for good measure? Well, if you are, then The Mundaynes debut album 'Love It' should do the trick. Recorded during Summer 2021 on the front line of Bexhill-On-Sea, 'Love It' is stuffed to bursting with 15 great new songs. During lockdown, Bevis Frond frontman Nick Saloman, having little else to do, found himself writing loads of songs. Some were used on the Fronds’ ‘Little Eden’ album, many were discarded, and some were kept with a view of doing something with them in the future. Nick felt that a batch of these songs were pretty good, but not really suitable for The Bevis Frond, maybe being a bit too punky. However, wanting to record these songs, he called up his mate Tony Page, the former lead singer with vintage punk bands The Ploy and Apocalypse, to see if he fancied doing some vocals. Tony was only to pleased to take part. Then Nick asked bandmate Paul Simmons if he’d do all the guitar parts. Paul agreed and the three of them went into Bexhills’ Graffite Studios and laid down the tracks. The results were so good that the trio decided to put them out as an album. The impromptu band needed a name, so they became The Mundaynes, thought up by Tony because it was a Monday! Bearing in mind that all three guys played in punk bands, Tony as mentioned above, Nick with The Von Trap Family & Room 13, Paul with The Cravats and Jello Biafra, and, of course his own band The Alchemysts, the pedigree here is pretty solid. So what do we have here then? I guess it’s a loud, angry, melodic, wry punk rock album full of great tunes. Hope you ‘love it’, and if you don’t, well, that’s life.

The second single to be pulled from upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original. Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’” When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!” Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.” Alongside his Berlin production partners, Re.decay DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.