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Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.

A start-to-finish cycle that documents a lover's pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bard's career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains it's a work of fiction, but it's evident close-vested autobiographical premise is what helps make it universal: It's the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of love's darker sides and the consequences of what happens when dreams unravel.

As part of its Bob Dylan catalogue restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LP at RTI. The end result is the very finest, most transparent analogue edition of Blood on the Tracks ever produced – and the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.

For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogues, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylan's songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honour, poignancy, and fairness – all traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blame – instil the record with equilibrium on par with the consistency of the flowing melodies.

Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colours, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Brown's flexible albeit subtle bass, Buddy Cage's country-streaked pedal-steel guitar, and Paul Griffin's soul-baring organ – an instrument used to shadow, tuck-point, and illuminate here as effectively as any time in rock history – Dylan pours soulful emotion, open his veins, and bleeds.

Ranked 16 on Rolling Stone's list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,

Given the sonic and artistic merit of this album, we anticipate huge demand.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Sean Huber, best known as the drummer of the beloved & defunct band Modern Baseball, has been releasing music with his band Steady Hands since 2013.

Back for the first time since 2018 with new album “Cheap Fiction,” Huber pays homage to all of the deities you’d expect someone with a New Jersey birth certificate and a dog named Bruce to wor- ship, with rollicking saxophone and piano over tales of hard- on-their-luck neighborhoods, and stadium-rock-ready guitar zaps over odes to the misrepresented people of Florida.

He grapples with lapsed religion like so many with Irish names have done before him. And he fits in real nicely with the mod- ern heroes of Philadelphia’s punk scene, blending the best of heartland rock and straight-up punk with his own penchant for the tropical. Huber’s lyrics tell stories of a very real world where people in power use it for evil, the people who need help don’t get it, but the person at home makes life beautiful despite it all, and

The EP FACE II is a continuation of the Faces EP series, of which the first EP was released in october 2022. The basis here is also a literary fixpoint with KAFKAS VER- WANDLUNG.

the examination of the urban modern man has its origin in the album JAHRE and is now explored in more detail here. What happens to us in a time of digital transparency as a glass human of the city and night.

It starts with THE VOID, which was originally intended as a poem about being lost. We go out into the night, some to search, some to forget and some to never come back as the same again. On our journey we often take substances that we expect to make this journey easier and faster. the escape from ourselves and from our relationships to the environment and humans can‘t just be skipped. a fast way is always a dangerous way and often leads to an even bigger EMPTINESS.

In THE GHOST something appears to us late at night, it is like a shadow of the previous hours, something that has followed us on the streets and accompanied us un- discovered until we reached our home. We wake up and at first it is unclear whether we are dreaming.

In half-sleep the dimensions blur together and the whole polyva- lence of the different existences gapes open. We blink into the DARKNESS and try to recognize something, the light remains far away and yet we hear this piercing sound, which in the end leaves us only with ourselves. we are the spirit of the night, trapped on an old tape in the chest of nothing.

The next section THE MOON shows us the light in the darkness. The shadows and ghosts give way for a moment and the light flows through our veins and molecules. The poem describes our unspoken longing to follow the light, in the light our fears disappear and everything blurs into an unknown familiarity. We stagger back and forget the encounters with our inner DAWN.

In the light the ghosts disappear like childhood memories left behind.
The last chapter is written by THE DAWN, a stanza from the poem of the same name as a spoken reconciliation with the world. In spite of everything, we seek harmony and connectedness. No one wants to become an exile, even if we can‘t always bring it about ourselves. We love LIFE and we hear and feel everything around us, if we let ourselves ...

ALL LOVE
AMAS_DHE / AMAS_PHI

Much of Radio Red, the first full length album Laura Groves has released under her own name, was written, produced and recorded by Groves in her studio, watched over by two radio transmitting towers. “I became very drawn to them and they became like symbols to me; they were always awake, sending their messages, the red lights always came on at night and watched over whatever was going on in my life.” The album deals with themes of communication - missed and intercepted signals, chance meetings, synchronicities, the channels through which we try to express our true feelings, the outside interference that can get in the way and the joy of letting go and allowing the messages to flow freely.

Self-recording and production is a core part of Laura’s songwriting process. “I remember years ago getting hold of some basic recording software and being instantly drawn in. The idea of being able to layer up my voice was a dream, like building an orchestra out of what I had at home.” The passion for home-recording, using the resources available at the time, working through limitations and capturing textures through layering, forms the foundation of Groves’ experimental and off-centre pop music and electrified folk music. The sound world of Radio Red is made up of echoes, and snapshots of half-remembered pop songs, piano ballads, chopped up TV theme tunes, ambient synthesised sounds and electronic music; tuning in between channels without fully belonging to any one of them, with the comfort, familiarity and strangeness that can come with hearing voices on the radio.

Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.

Limited to 6,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and includes the bonus track "Allison's Uncle." Offering reference-calibre sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior.

The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit its extremely select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic photos to the gorgeous finishes.

The vibrant potency reveals itself openly on an analogue set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there – there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.

For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin' Else is without question a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, "The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer." Such inimitable feeling, or emotion, courses throughout every passage, and no where more obviously than on "Autumn Leaves" and "Love for Sale."

Without question, the discreet interpretations of the Johnny Mercer and Cole Porter songs, respectively, found on Somethin' Else have long been considered part of jazz's alluring mystique. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on "Autumn Leaves," with the latter's muted trumpet and the headliner's lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Blues, melody, and romance pour from their horns. Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of "Love for Sale" – join in on the conversation with sharp economy and float-on-air roundedness.

Not to undersell the other three numbers, all deserving five-star status. Twelve measures in length, the title track offers a slow burn in swing. Written by Adderley's brother, Nat, the 12-bar "One for Daddy-O" transmits funk flavors. The closing "Dancing in the Dark" pops with lushness and temptation, its stream of bold colours and understated textures calling for a moonlight twirl, or at least fantasies suggestive of a memorable night. Somethin' else, indeed.

Singer-songwriter house, outsider or campfire dance. Katerina’s full-blown debut EP for Running Back melds cultural images of both places she calls home. Alternatively hailing from Helsinki or Sofia, she serves ethereal vocals, heartbreaking melodies and the chilly melancholic strains of the north to meet an optimistic and at times cheerful mood, paired with pop music themes, heavy bass lines and an upbeat drum section. Six tracks of idiosyncratic and independent dance motifs (including two ambient takes) that all go against the grain of the fast pace of life today, cheap thrills and unnecessary kills. All symbolized in the lyrics of the lead song Get To Know You or the instrumental love ballad Rain In Her Eyes and bound together by Marsu The Cat or Time Machine. An EP with the depth of an LP, lots of weight and even more character. Powerful, wonderful and more durable than the remains of one day.

In Japanese, the word “Guru-Guru” refers to the state of spinning, whirling.?
This state is captured in the work of Japanese artist Hoshina Anniversary, who makes his third appearance on MUSAR with his EP Guru Guru and marks the return of the label after an extended break.

Hoshina’s self-titled brand of ‘Watechno’ has appeared on well-loved dance music labels like ESP Institute, Volvox’s Jack Dept and Young Marco’s Safe Trip, alongside MUSAR where he also appeared as Shifting Gears back in 2022; an electronic-jazz-centered moniker.

His Guru Guru EP captures the latest snapshot of Hoshina’s sound and sees him draw from Japanese language as a through-line.
The title track is the clearest representation of his ‘Watechno’, where he uses Japanese instrumentation on top of a menacing EBM-style march. The track's slowly whirling momentum is the “Guru-Guru”.

On tracks like “Banri”, which means far away in Japanese, we see new shades to Hoshina’s work as he mixes a Japanese Wadaiko drum groove with acidic elements and piano melodies to make a track of contradictions which pairs roughness with elegance. Whereas on “Usagi”, Japanese for rabbit, Hoshina fires up the BPM.
Piano melodies remain here but their effect is more drifting and emotive than on “Banri”.
“Kaga” is named after a place in the southernmost part of Ishikawa Prefecture, between Kanazawa City and Fukui City.
On this track, Hoshina’s love for jazz comes through and even mirrors the work we heard from him under Shifting Gears.

Recorded at the Hollywood Palladium, Los Angeles in 2018, ‘Sunset 666’ is a new live album from The Jesus and Mary Chain, due out August 4th 2023 on Fuzz Club. In 1990, a young American band, full of a precise kind of noise and darkness, were special guests on the US tour being undertaken by a group who had noise and darkness, poise and catharsis of their own. The young band: Nine Inch Nails. Those headliners: The Jesus and Mary Chain. Almost thirty years later, an invitation was extended. Would the Reid brothers care to reverse the roles and open for Nine Inch Nails on their own North American tour? Trent Reznor had been a fan of the Mary Chain, and influenced by them since hearing 'Psychocandy', so it felt a good fit and the Reid brothers accepted. The resulting tour ended with a run of six shows at LA’s Hollywood Palladium and the seventeen tracks captured on the ‘Sunset 666’ double album were recorded from the desk on two of those nights. Sides A, B and C are from the final show, December 15. Those twelve songs were the full set that night, in sequence, meaning the show began with the here-we-f*cking-go drums of ‘Just Like Honey’ and ended with the ferocious euphoria of an eight-and-a-half minute ‘Reverence’. Side D of the vinyl record is taken from the December 11 show and serves almost as a mini-showcase of the ‘Automatic’ album, featuring versions of ‘Blues From A Gun’, ‘Between Planets’ and ‘Halfway To Crazy’.

Daljit Kundi and Ludvig Cimbrelius have Indian and Swedish backgrounds but actually came together in the UK music scene and specifically ambient jungle. They set off to explore that world totters and did so with aplomb across several great albums and EPs.

This new album was actually nearly done many years ago but was shelved owing to struggles with record labels. When Past Inside The Present heard it though they encouraged the album to be finished and so here it is. It's an emotional work which "attempts to represent a psychic darkness that is as deeply restful as it is ripe with creative potential." It's absorbing, beautiful ambient from a pair of real dons.

DJ Jus-Ed is a real house g. The New Jersey man has been keeping it deep for decades, mostly on his own Underground Quality label and that's what he does once more here. As is often the way, his own vocals infuse the opening track 'That First Touch' which is a happy house cut laced with feel-good pianos.

'The Freshness' hits the sweet spot between classic Chicago depths and dubby new school house with sustained chords and lo-fi drums. 'The Walk & Talk' has elastic bass and tumbling drums with zoned-out vocal musings and 'When I Met You' brings some cosmic synth radiance into Ed's smoky house basement.

You could say, ahem, that Infiltrate has infiltrated deep into our conscious with its fine run of releases as we are well and truly locked in to the output each and every time. As far as we can tell, both of these artists are new names who are making their first releases here - or they are at least appearing on Juno for the first time. But the music is so impressive we find it hard to believe this is their debut. Cyphon kicks off with the tight, twitchy electro workout that is 'Hegemony' which Gene Harvest mixes into something more full fat and celestial. Konertymi's 'Valtameri' is a rich, colourful world of freeform melodic arps and arching heavenly chords while Astraali Suunnittelu could be a Kraftwerk does modern electro tune.

Lush"s fi nal studio, Lovelife, landed whilst Britpop was in full swing (Jarvis Cocker even duets with Miki on the track "Ciao!"), managing to fi t in whilst sticking to the rules they set themselves with prior albums. Produced by Pete Bartlett (Therapy?, Kitchens of Distinction), it features three of the band"s biggest singles in "Single Girl", "Ladykillers" and "500 (Shake Baby Shake)".

Cesaria Evora's album Voz d'Amor won a Grammy for Best Contemporary World Music Album in 2004. It features hit songs like "Jardim Prometido" and "Amdjer De Nos Terra." The album reached high positions on various European charts and peaked at #2 on the US Billboard World Albums Chart. It received Gold certifications in France, Poland, and Russia.

Voz d'Amor is the ninth album from the great Cape Verdean singer Cesaria Evora. It was awarded a Grammy Award for Best Contemporary World Music Album in 2004 and received much appraisal.

The album was recorded with musicians led by pianist Fernando (Nando) Andrade who have backed Cesaria on stage since the start of 2000 and appeared on her previous album São Vicente di Longe. It features the popular songs “Jardim Prometido”, “Amdjer De Nos Terra” and “Velocidade”. Voz d'Amor made it to the charts of different European countries and peaked at #2 on the US Billboard World Albums Chart. The album received a Gold certification in France, Poland, and Russia.

Voz d'Amor is available as a 20th anniversary edition of 1000 individually numbered copies on gold and black marbled vinyl and includes an insert with lyrics.

Baxck in stock! PRESSED ON RED & GREEN OPAQUE VINYL! De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers. Their debut full length “Straight Out the Jungle” opened up many doors that are walked through by today’s artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was one of the first. Plus, the group’s groundbreaking collaboration with legendary house producer Todd Terry, “I’ll House You,” paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years and appeared to be a staple on every East Coast Rap Album from ‘88 until ‘92. The opening track “Straight Out the Jungle” samples the classic Bill Withers drum break as the JB’s tell you where they are coming from. “Black Is Black” (featuring a young Q-Tip) and “Sounds Of The Safari” introduces the pro-black edge, while the sexually subtle classics “Jimbrowski” and “I’m Gonna Do You” are funny, clever and timely. Hard, smart, fun, clever and brilliant, Mike G., Africa Baby Bam and Sammy G may not have realized it but they crafted a classic rap album that stands the test of time. Available here on high grade, loud pressed, double vinyl for the first time ever!

Werewolves formed in 2019 and have proceeded to release an album a year to increasing acclaim and global calamity. Three full lengths and one EP later, the band performs an act of creative peristalsis with album four “My Enemies Look And Sound Like Me” due out 11th August 2023. Bassist/vocalist Sam (The Antichrist Imperium, The Berzerker) says: “Here it finally is, the recording that will cement our place in the technical death metal world as some of the greatest soloists and most thought-provoking lyricists working in music today. Our ability to shape raw art from ethereal nuance is second only to our famously slow craftmanship.” He continues “Of course I’m fucking kidding. This album is as idiotic as the rest, if not more. CAVEMAN RIFFS. Blasting. Screaming. Bowing to a shrine with pictures of Mortician, Marduk, and Angelcorpse. This isn’t going to be the album that brings people together and catalyses world peace. Apparently it has greater emotional reach than our earlier work but we haven’t noticed that ourselves, we’re morons. I can confirm that there is more swearing on this album than all the others, it’s positively Australian-esque”.

I could smell the curves of the river beyond the dusk and I saw the last light supine and tranquil upon tide-flats like pieces of broken mirror, then beyond them lights began in the pale clear air, trembling a little like butterflies hovering a long way off. -The Sound and the Fury, William Faulkner

This is the third and final instalment of Jeremiah M. Carter’s album triptych, »Vessels«. Following »Rejoice« and »Speak You Also«, all three album’s where conceived within a 6 month period during ferociously exalting creative sessions.

The Emotional turmoil of the early pandemic is as present on »Vessels« as it is in the other two albums, yet the final instalment showcases as more distinctive sense of focus, where the earlier albums saw Jeremiah expel a state of uncertainty and trepidation into an intense, almost spiritual form of musical cleansing, Vessels still bears those same hallmarks, yet comes across with an air of refinement and finality.

Spanning six pieces, each work feels like an integral part of the albums overarching narrative, fervently nestled amid divinity and humility. By its final piece, which also clocks in as the longest in the entire triptych, we are treated to one of Jeremiah’s finest moments, and for a few seconds, it all comes together for one last swansong, forming a sonic distillation of elation and grief, desire and passion. – It’s all here.

GAZELLE TWIN - aka composer, producer, singer, and visual artist Elizabeth Bernholz - has scored Sky's brand new TV series "Then You Run".

Created for television by Ben Chanan (The Capture), based on the novel YOU by Zoran Drvenkar, Then You Run follows four rebellious London teenagers on a city getaway to Rotterdam. This contemporary eight-part series boasts an incredible cast of rising stars; Leah McNamara (Normal People) as Tara, Vivian Oparah (Rye Lane) as Stink, Yasmin Monet Prince (Hanna) as Ruth and newcomer Isidora Fairhurst as Nessi.

The four friends embark on what should have been the perfect summer break which soon spirals into a dark and perilous adventure. When their attempt to take on some of the most dangerous people in Europe doesn’t quite go to plan, they find themselves on the run with three kilos of heroin, more questions than answers about Tara’s family, and a gang of deadly criminals tracking their every move.

Invada Records have previously released two recent Gazelle Twin scores (2020’s Nocturne and 2021’s The Power).

Her 2018 acclaimed album Pastoral was described by Pitchfork as “...belonging to a proud tradition of English satire, plumbing the depths of the nation’s psyche and twisting it to wryly discomforting ends”.

* Clear with Purple Center Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

Celebrating dubwise origins, Mole Audio delivers two fresh remixes of their very first release: Andy Martin ft. Gavsborg’s Plato & Caves.

Gavsborg is a towering figure in Jamaica’s dancehall scene. So when Andy found an acapella, he set to work on a renegade edit. Subsequently approved and embraced by Gavborg himself, Andy’s interpretation provided the launch point for Mole Audio – and is re-envisioned twice more here.

Paired with the original A-side, the first B-side remix comes courtesy of Dub War’s legendary Bill Fuller. A progenitor of London bass music, Bill’s records as Dubwar are prized among collectors. Pairing hypnotic beats with spacious textures, an insistent analog bass line weaves its way through an infectiously dystopian atmosphere.

Taking a minimalistic house-driven approach, Andy’s all-new Mad Magnetism Version brings Gavsborg’s original vocal to a prime time environment. Sizzling high hats and diving bass drops combine to keep the dancefloor in motion before insistent dub chords further elevate the urgent atmosphere.

Combined with the original and Nit Yardman’s remix, the resulting package once again showcases Mole Audio’s unique approach to modern dub aesthetics.

Santilli returns to Mad Habitat after a European sojourn on Growing Bin! The Eora-based multi-instrumentalist is one half of Angophora, but his solo work exists in the lineage of electro-acoustic visionaries like Steve Tibbetts. With each subsequent release, Santilli strikes the balance between mining his well-defined personal aesthetic and expanding his vision.

The instrumental palette of this record is centered around guitar and synthesizer, bolstered by an incredible array of idiophones and membranophones. There is no shortage of spellbinding moments, like the glacial synths that pan across “Mirrors”, the cascading beauty of “Colours” or the woodland symphony of “Hollow” - the latter even recalls the environmentally-focused work of Waak Waak Djungi’s Peter Mumme.

There’s a common thread across this album in the way it evokes the expanse of nature that Santilli spends much of his time in. All 9 tracks feel like a glimpse into an exquisitely realized scene and across all of them, Santilli's music is suffused with an unhurried sense of ease. The music here feels immersive and panoramic as a result, and we’re grateful to share a glimpse into the worlds Santilli captures.

Tom James Scott holds a unique position in experimental music. With a soft brush approach Scott, who currently lives on the North-West coast of England, has explored delicacy in music with a variety of sublime releases on a variety of labels. Predominantly known for gentle investigations of guitar and piano, Scott has shifted to incorporating different technology and tactics over time. All of this, either in performance or recording, is embedded with a spirit that is quintessentially his own. Nightshade is the latest in his expanding catalogue, one which ignites an alarmingly new take on his approach to music. Echo on Water initiates proceedings with the unmistakable sound of tape.

Any instrumentation is buried amongst the woozy sway of the medium itself, with its rough dynamics soon morphing into an overwhelmingly swirling mass of emotionally decayed sound. The movement of matter takes on a haunted shape with sounds looping and falling apart as the physicality of the medium holds it all together. The second track Blue Mist furthers this approach with its smeared haze of gorgeous emotion. This is deep exploration of ideas meeting matter. Wasting Stars takes up the entire flip side with the sound of tape recoiling a bit to allow the delicate glow of instruments to come more to the fore, with gentle effects that weave the musical matter. As a skewered take on Scott’s earlier piano explorations the atmosphere here is a subdued soundscape evoking the spiritual sadness found in the piano works of Gurdjieff/De Hartmann, with a modern lo fi angle.

Nightshade is a deeply effective journey and one of the most exquisite examples of Scott’s delicate approach so far. Two sides of form which inhabit contrasting yet complimentary clouds of sound communicating in an stunning emotional flow. As music with only trace elements of melody, Nightshade is a beautiful take on tools being used to explore paths both highly idiosyncratic, deeply moving and discreetly personal.

Lee Gamble’s UIQ label unveils a second album from Filipina-Australian artist Corin Ileto, deploying a brace of swarming alien chorales and rapturous digital rave noise to explore the idea of sound as a sentient being. Bold and operatic, cinematic and cybernetic.

Named after the iconic choral work by 20th Century avant-garde legend György Ligeti (as immortalised by Stanley Kubrick in 2001), ‘Lux Aeterna' explores the idea of micropolyphony, a term Ligeti described as a complex polyphony "in which harmonies do not change suddenly, but merge into one another." Like Ligeti, Corin isn't primarily concerned with melody or rhythm, but timbre: the colour and quality of sound itself.

Taking its time to unfurl, the album opens with ‘lumen naturae’, winding tonal clouds that eventually latch onto a misshapen hoover sound that curves into the abyss. Corin shows her hand more formally on 'sunta', balancing layered cybernetic drones against ratcheting metallic rhythms and unstable textures. When the track cuts to almost-silence, it reminds us of Akira Rabelais' ghosted 'Spellewauerynsherde' (itself an impressionistic granulation of vocal recordings), before being disrupted by a dynamic kick that shares DNA with club music.

But despite her occasional flirtations with the club, Ileto doesn't appear to have any interest in making functional dance music. Instead, she emphasises momentum and texture. Like a celestial opera, ecstatic trance is reimagined within the context of sacred liturgy – merging hyper-real soundscapes with Gregorian chant and medieval instrumentation. Chrome-plated clangs and growling subs highlight the album’s sci-fi leanings, tapping into a sort of retro-futurism that balances a hi-tech mindset with a feeling of deep vulnerability and alienation.

The collaboration between Klara Lewis and Nik Colk Void somehow seemed inevitable. Both artists having seen their releases published by Editions Mego, individually carving out idiosyncratic voices in the worlds of extreme, abstract electronic music. With Full-On, Lewis and Void explore and assimilate the very edge of their individual practice where a unique collaborative interface allows two voices to combine and morph into a third voice.


Lewis and Void play ping pong with the conversation of sounds, generating ideas and bouncing them off each other, simultaneously encouraging the other to go further with their ideas opening up an opportunity to engage with previously unexplored terrain. Guitars, synths, euro rack modular systems, voice, sampling and outboard processing are folded in a playful unification with a propensity to tease, explore and extract new ideas and shapes, sometimes brutal, sometimes playful.

Trust was also a compositional tool allowing instinct to freely move on any aspect of the sound and space. This sound/feeling/instinct/association let this wild and wonderful material grow organically into something new.

The result of this exploratory interplay are 17 intense miniatures reveling in the process of unadulterated experimentation and whimsical interplay, not just between the humans, but the machines themselves. United in an endless series of sonic U-turns, this daring duo intertwine pop and noise whilst also bringing together visions of tender techno and forthright ambient.

The various zones which manifest from all this reveals vocals shifting in mysterious ways, dust drenched beats churning limpidly and devilish string loops navigating a disorientating domain. The experience of listening to Full-On is to be confronted with a range of ideas resulting in a platter of emotions. A place where beauty and the beast collide with the impulsive and outright weird. What a wonderful world.

"Don't Stop" is the third album retrospectively released by Ghia. As the subtitle "Early Works & Artefacts 1984-1987" implies, it features some of their earliest compositions as well as tracks that were recorded during the same period as their "Curaçao Blue" LP.

The album is a fusion of diverse music styles. Listeners will delight in a range of genres, including electro, funk, soul, jazz-funk, synth pop, and even rap/hip-hop, all woven together as a cohesive work that remains mostly instrumental. As a whole, "Don't Stop" represents Ghia's funkiest and most experimental release to date. Notably, the LP features a rap version of Hermann Hesse's controversial German poem "Armer Teufel am Morgen nach dem Maskenball" ("Poor Devil the Morning After the Costume Ball") from 1926, accompanied by a drum machine rhythm and funky guitar. This poem depicts a person who drank too much the night before, telling the story and describing his hangover. The title track "Don't Stop" and the thrilling minimal electro-funk tune "3 A.M. at Moëf Gaga" both evoke old-school electro influences. The latter references the Spanish discotheque Moëf Gaga, located on the Balearic coast, which the dynamic duo of Lutz Boberg and Frank Simon frequented during their 1980s holidays. While the exact music played at 3 A.M. is unknown, listening to Ghia's track will undoubtedly capture the mood of the place.

One of the key tracks of the album is "Message From The Other Side", which could easily be noted as one of the nicest European synth-funk instrumental pieces ever. The track is based on a sick synth bass line, sparkled with DX7 chord hits, funky guitar, and a delightful "marimba" solo in the last third. The solo was actually played on Boberg's keyboard, using a special sound cartridge. This particular track had to be edited and technically revised by Marian Tone and DJ Scientist as the existing demo version of the song could not be used as is. With its stunning groove, this track will surely be a DJ's favorite.

Listening to the complete album, there is more of Boberg's keyboard wizardry: could you believe that the trumpet solo on "Jump In The Water" as well as the short but stunning slap bass solo on "Talk Too Much" were both played by on the DX7? However, this new release, unlike the jazzy "Curaçao Blue", is not about solos or virtuous playing - it clearly shows the duo's direction towards more electronic composition and clear song structures. The versions of "September Garden", "When The Rain is Falling" as well as "Talk Too Much" are actually instrumental mixdowns of vocal songs. And again, we get a blissful take of "Close To You", here a version from 1986. This soulful jazz-funk ballad could already be heard on "Curaçao Blue" while the final vocal version with singer Lisa Ohm can be found on the recently released "This Is" LP. This shows that the Ghia composers, Boberg and Simon, were perfectionists - tracks were reworked again and again, making them better and better.

The album was mastered and restored with great care, and we are pleased to provide you with a perfect example of mid 1980s home-recording pleasures, tinged with a youthful spirit and providing a sound that cannot be recaptured anymore nowadays. Alongside "This Is" and "Curacao Blue" it should be another perfect addition to any 80s groove collection as well as a great pick for DJs that love and play disco, leftfield electro and funk. The LP is limited to 500 copies.

Kharkiv born artists Komponente & Kurilo have been an integral part of the local scene in the past years both as DJs, Live-Act and Producers.

Now further apart since the beginning of the war they are still united in music and we are happy to finally share this EP with which was originally conceived when both artists were still Kharkiv based during the pandemic.

Kurilo has since made the journey to the New York via Berlin in recent months. While Komponente took refuge in Kyiv for some time after having sat out most of the fighting in and around Kharkiv while lending a helping hand to families and elders who couldn't manage or didn't have the means to leave the city when russia attacked.

At this point we are just happy and thankful to have both of them still with us and to be able to finally get this EP out which by now seems to have travelled from a past life to us in the here and now.

Pandemics or War this is Electronic Music charged with pure emotions produced during one crisis, released during the next and we will still dance to it during whatever comes next!

CHRIS CARTER & COSEY FANNI TUTTI’s remastered limited edition vinyl series continues on 4 August 2023 with the release of Technø Primitiv (1985), Trust (1989) and Pagan Tango (1991) – all available on vinyl for the first time since their original release. The remastered albums will be available on coloured vinyl, each with a printed inner sleeve of archival photos, via CTI. Elemental 7, Muzik Fantastique!, and Feral Vapours of The Silver Ether were released earlier this year, and the series has seen many of Chris & Cosey’s influential albums available on vinyl for the first time, giving listeners a new opportunity to revisit some of their celebrated catalogue.

The remastered releases for August includes 1985’s Technø Primitiv, originally released on Rough Trade, the album is from Chris & Cosey’s whiplash minimal ‘80s icy synth period

This compilation takes us on a journey to the Colombian coast where the passion for African music burns bright.It's impossible to understand this love affair without first looking to San Basilio de Palenque - the first free town in colonial Latin America, established in 1691 as a place of refuge and autonomy for black slaves. It's a place where pride in African heritage and culture could be kept alive, just 50 km away from Cartagena de Indias.

The Afro Caribbeans' connection to their roots gave rise to the "picós" - artisanal, high-powered sound systems akin to those found in Jamaica. These music aficionados have a keen ear for African melodies, leading to a vibrant collector's scene that brought Afro sounds to the streets of Barranquilla, Cartagena, and Santa Marta. This compilation showcases the best of Kenyan Benga music - a unique style with a distinct guitar-picking method that draws from traditional instruments like the nyatiti and orutu. Learn everything about the history and stories behind these African tracks, from the carefully guarded "exclusives" to the piconema - the practice of renaming songs in Spanish based on their lyrics or the reaction of the dancefloor.

The project has been led by Spanish vinyl collector Joan Pujol aka Golfo De Guinea surrounded by a team of passionate music lovers including Don Alirio, a musicologist from Barranquilla who offered a coastal perspective, and George Ouma, a Kenyan DJ, collector, and Benga advocate who helped with track selection and securing rights. The result is a compilation that captures the joy and energy of sub-Saharan polyrhythm, bringing together a vibrant mix of genres that are sure to move your feet. So sit back, turn up the volume, and let yourself be transported to the vibrant streets of the Colombian coast and the shores of Lake Victoria.

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Songwriter Ron Stassens assembled a team of musicians in 1977 in anticipation of local side the Portland Trailblazers taking an NBA championship title. Milton Davis was the chosen front man and the music made got regional plays but not more so the band went their separate ways. But not before recording the album that is now presented here via Albina Music Trust. It is a funk work of the highest order with six super tight grooves all laden with percussion, disco energy and big vocals. These will all do plenty of damage in the right setting and remind why Davis is such a cult figure.

The first witnesses to Samuels' new beginnings fittingly became part of
the sound of the album - During her darkest moments, while writing in
isolation, her old friends in the band Bonny Light Horseman offered to
take her out on tour in early 2020
"They re-contextualized music for me all over again," she says. Observing a truly
kind and compassionate music community brought Samuels out of herself even
more. Inspired by conversations with producer Josh Kaufman (The Hold Steady,
Bob Weir, Cassandra Jenkins) on the road, Samuels took him up on his offer to
produce her new songs and retreated to Isokon Studios in Woodstock, NY in the
summer of 2021. They made the album as a duo, with Matt Barick (The Walkmen,
Fleet Foxes) contributing drums on the entirety of the record. The result is a sonic
template that ranges from the soaring and orchestral to the understated and
confessional; at turns free- wheeling and filled with swagger then sincere and
precise, with each subtle movement serving to highlight Samuels' lyrical journeys.

With his sophomore full-length album, Born Hot, Chris Farren paired polished, up-beat pop songs with lyrics full of self-examination and insecurity, all while developing a newfound sense of humor when it came to promoting himself. Stereogum called it “a tongue-in-cheek exploration of ideas of confidence and self-loathing," while The Atlantic featured it on their “Best Albums of 2019” list.

On his third full-length album, Doom Singer, Farren injects his latest work with a newfound sense of power and cohesion. Collaborating for the first time with outside drummer Frankie Impastato (Macseal), Farren's songs take on a whole new dimensionality, with Impastato's live drums bringing a fresh spontaneity to the tracks. Doom Singer marks another significant milestone in Farren's career as it is the first time he collaborated with a producer, multi-instrumentalist Melina Duterte (Jay Som, Bachelor, Routine). Her masterful production experience adds a layer of sophistication to Farren's sound, creating a rich and multi- dimensional sonic landscape that takes his music to new heights. With Duterte's keen ear and meticulous attention to detail, the album resonates with a level of clarity and depth that showcases Farren's songwriting and vocal abilities in a whole new light.

Chris Farren’s music has been praised in outlets such as MTV, Stereogum, and The Atlantic, who describes his music as having “bright-eyed hooks, sparkly orchestration, and tight songwriting.” With numerous world tours alongside artists such as Jeff Rosenstock, The Gaslight Anthem, Laura Stevenson, and others, Farren has been building a dedicated following of fans who connect with his introspective lyrics and infectious pop sensibilities.

Los Angeles born Nita Strauss has become a force in music. After reaching mass acclaim with her first album, Controlled Chaos, she returns with her second full-length on Sumerian Records, The Call Of The Void. Featuring the highly popular "Dead Inside," and "The Wolf You Feed," the album is a combination of melodic sounds and hard-hitting riffs that Strauss has become known for, proving time and time again that she has solidified her presence as one of Rock's greatest

Dot Allison returns with a new solo album, Consciousology. After over a decade away, the former One Dove singer and songwriter broke cover in 2021 with Heart-Shaped Scars and this new album follows just two years later, as she hits a purple patch of songwriting. It’s also her first full release for Sonic Cathedral after contributing to Mark Peters’ acclaimed Red Sunset Dreams last year. Consciousology finds multi-instrumentalist Dot joined by the London Contemporary Orchestra, her new labelmate Andy Bell from Ride, who plays guitar on two tracks, and Hannah Peel, who is responsible for some of the string arrangements with both the LCO and a stellar group of Scottish string players. It expands on the styles and themes of the previous album, all while pushing everything just that little bit further – the songs sound bigger, more avant-garde and experimental and, occasionally, properly out-there and psychedelic. “I wanted to make some albums that felt like a set, exploring love, what lies beyond the visible and how all these aspects dovetail together,” explains Dot. “I see Consciousology a more psych Heart-Shaped Scars with a far fuller, more immersive sound and so, in that sense, it’s a more wayward, bolder, rule-breaking partner.” Right from the eye-catching artwork by PJ Harvey collaborator Maria Mochnacz it definitely does not play it safe. It veers from the techno-played-as-folk of opener ‘Shyness Of Crowns’ and ‘220Hz’ and the Linda Perhacs-meets-The Velvet Underground chug of the first single ‘Unchanged’ to the Mercury Rev-style fantasia of ‘Bleached By The Sun’, the Brian Wilson-esque harmonies of ‘Moon Flowers’ and the kaleidoscopic colour trip of ‘Double Rainbow’. Elsewhere there are echoes of Desertshore-era Nico, Jack Nitzsche’s work with Neil Young, Karen Dalton and Anne Briggs before the relative simplicity of the Tim Hardin-inspired closer ‘Weeping Roses’. It’s a brilliant, breathtaking record.

Carole King is the most successful female songwriter of the 20th century, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. She has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting.

The album Pearls: Songs of Goffin and King by Carole King is a collection of brilliant pop music and widely recognized as her best work since Tapestry. The album features 10 songs originally written by Carole King with her ex-husband Gerry Goffin. The album contains new versions of "Locomotion", "Hey Girl", "Snow Queen", "Oh No Not My Baby", "Hi De Ho", "Wasn't Born to Follow", "Goin' Back" and more. “One Fine Day” was a Top 40 hit in charts around the globe.

Sally Cinnamon is acknowledged as the first release in the style which would come to be recognised as the Stone Roses' trademark sound. This
EP includes the 12" single mix, all the B Sides and additional live tracks. This is the first time this new configuration has ever been released in
six unique colour variants on heavy weight 180g Vinyl. Half-speed mastered to the highest possible quality and DMM – Direct Metal Mastered
with protective polypropylene inner bag making this the ultimate collector's edition.

Sally Cinnamon is acknowledged as the first release in the style which would come to be recognised as the Stone Roses' trademark sound. This
EP includes the 12" single mix, all the B Sides and additional live tracks. This is the first time this new configuration has ever been released in
six unique colour variants on heavy weight 180g Vinyl. Half-speed mastered to the highest possible quality and DMM – Direct Metal Mastered
with protective polypropylene inner bag making this the ultimate collector's edition.

Sally Cinnamon is acknowledged as the first release in the style which would come to be recognised as the Stone Roses' trademark sound. This
EP includes the 12" single mix, all the B Sides and additional live tracks. This is the first time this new configuration has ever been released in
six unique colour variants on heavy weight 180g Vinyl. Half-speed mastered to the highest possible quality and DMM – Direct Metal Mastered
with protective polypropylene inner bag making this the ultimate collector's edition.

Sally Cinnamon is acknowledged as the first release in the style which would come to be recognised as the Stone Roses' trademark sound. This
EP includes the 12" single mix, all the B Sides and additional live tracks. This is the first time this new configuration has ever been released in
six unique colour variants on heavy weight 180g Vinyl. Half-speed mastered to the highest possible quality and DMM – Direct Metal Mastered
with protective polypropylene inner bag making this the ultimate collector's edition.