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Die in Edinburgh ansässige fünfköpfige Band rEDOLENT veröffentlicht ihr Debüt über das aufstrebende schottische Label und Kreativzentrum Post Electric (Heimat von Hamish Hawk, Humor, Iona Zajac, Voka Gentle). "Dinny Geet", eine akribische Mischung aus eckigem Pop, Elektronik und eigenwilligen Melodien, bietet auf zehn eleganten, durchdachten Tracks harte Realität und freudige Flucht. Obwohl rEDOLENT so unterschiedliche Einflüsse wie Mount Kimble, King Krule, Animal Collective, Brockhampton, LCD Soundsystem, Madvillain, Tom Vek, Clairo, CAN und Talking Heads zitieren, gehen sie zweifellos ihren eigenen Weg und kreieren einen eigenen maßgeschneiderten Sound.

Winston Hytwr is a co-release presented by K and Perennial. Born in Columbus, Ohio in March 1993, Winston Hightower is a prolific home recording artist with an expansive discography that crawls across space and genre. A staple in the Midwestern punk/DIY scene, his first work under the eponymous moniker was a self-released tape in January 2015. Since then, he has put out over 100 songs on tape, online and on video. The music defies easy categorization, and instead breezes through a landscape of synths that effortlessly blend pop, rock, rap and jazz. In doing so, Hightower continues to build a cohesive, ever-morphing experiment in pushing the boundaries of underground guitar music, all with his signature wit and charm. This body of work is almost entirely written and recorded alone in his room, causing many to refer to him as `the Black R Stevie Moore,' a fitting epithet as his influences likewise include modern "lo-fi" progenitors such as Guided by Voices and Vivian Girls. Hightower has released much of his own work and more on his tape label, the FAH-Q Catalog, which boasts over 12 releases He has also collaborated with numerous other Ohio legends such as members of Times New Viking, Slant 6, and Ron House. Both mysterious and effervescent, Winston shape shifts into roles that have also included pro skater (UNITY, Adidas) and touring hardcore guitarist/bassist (most recently with the groups Minority Threat and Twompsax). With such an extensive pedigree, and having toured ceaselessly since he was a teenager, it's shocking that Winston Hightower is largely unknown outside of the Midwest. K records is thus thrilled to be putting out his first ever record, "Winston Hytwr" KLP292/PRNL50 which will cull songs from his previous and impossible to find releases. Remixed by Capt. Tripps Ballsington and Remastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the International Pop Underground. 1000 vinyl copies.

New music from Philadelphia’s recently rediscovered soul powerhouse Ron Aikens and his backing band the Hip Tones is a soon-to-be classic double sider. Following in the traditional “soul 45 rpm” single format, a ballad side with a funk side on the flip, here is the first physical release from the forthcoming LP “Ron And The Hip Tones”. The lowrider soul feel on “Tear On My Chin” comes from a brainstorming session with Ron, producer P. Maxwell Ochester, and the two main songwriters Dave Cope & Fred Berman.

It tackles heartache, pain, and loss coupled with the slow grinding groove only true heartache can produce. On the flip, you will find a nod to Ron’s former band, Power Of Attorney, and their breakout single “Changing Man” which inspired the uptempo groove and sweet flute part. Hinting at the classic Philly Soul style, there are lush strings and as a bonus, the impactful and powerful message delivered by Philadelphia poet Ursula Rucker.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

Bad Nerves, das uneheliche Kind eines One-Night-Stands zwischen den Ramones und den Strokes, spielen rasend schnelle, verzerrte Popsongs und
ernteten mit ihren bisherigen Veröffentlichungen "Dreaming", "Baby Drummer" und "Can't Be Mine" viel Lob. Kurz vor der Veröffentlichung ihres
zweiten Albums, dem brillant betitelten Still Nervous, sind die Jungs noch immer von ihrem Überraschungserfolg überwältigt.
Mit ihrem selbstproduzierten und selbstfinanzierten Debüt spielten sie sich 2020 in die Herzen und Köpfe der Crème de la Crème der alternativen
Musikszene; von Vordenkern wie Dan P Carter und Alyx Holcombe und von Gleichgesinnten wie Billie Joe Armstrong von Green Day und Stone
Gossard von Pearl Jam wurden Bad Nerves sofort als Retter einer Art von Punk angekündigt, die nie auszusterben verspricht. Sie sind mit Royal Blood
und The Darkness getourt und wurden mit Supergrass, den Ramones und Jay Reatard verglichen. Die Zukunft ist laut für Bad Nerves.

Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it.

Citadel of Stars" ist ein bahnbrechendes Album. Eine einzigartige Mischung aus epischem Pagan Metal und traditionellem Blackened Metal. "Citadel of Stars" ist sowohl ein wehmütiges Klagelied für ein sterbendes Zeitalter als auch ein hoffnungsvoller Blick auf eine Wiedergeburt zwischen den Sternen. Der kanadische Ein-Mann-Act SIG:AR:TYR ist mit "Citadel of Stars" zurück. Das erste neue Album seit dem 2016 erschienenen "Northen"

kehrt zu den dunklen Atmosphären früherer Werke zurück und verwebt Vergangenheit, Gegenwart und Zukunft zu einer bahnbrechenden Veröffentlichung, die die epischen Themen von 20 Jahren SIG:AR:TYRs musikalischem Erbe widerspiegelt. Von den frühen Jahren mit Akustikgitarren und Ambient-Klängen bis hin zu einer Reihe von Alben, die epischen Pagan Metal mit introspektiven Instrumentalstücken nahtlos verbinden, ist "Citadel of Stars" der Höhepunkt von zwei Jahrzehnten musikalischer Entwicklung, die den Hörer auf eine spirituelle Reise zu den Sternen und wieder zurück mitnimmt - eine Erfahrung, die man so noch nie gehört hat und die man nicht so schnell vergessen wird. Es ist schwer, einzelne Songs herauszugreifen oder hervorzuheben, denn "Citadel of Stars" schwebt, nimmt einen mit auf eine Reise und bevor man sich versieht, merkt man, dass man wieder auf "Play" drücken muss: Das ist die Stärke dieses großartigen Albums.

Last Summer, Kelly Finnigan made you a mixtape. It was an eclectic mix of ideas. Now, Colemine Records is excited to share two of those tracks on vinyl for the first time. The A-side 'Leave You Alone,' is a stone-cold classic R&B soul cut, and a certified ear worm. It tells a love story from the female perspective, inspired by the soulful sounds of Bettye Swann. This track features the Ramey Brothers (of Monophonics, The Ironsides) and highlights Kelly on all other instruments. TheB-side, 'Thom's Hartbreak' is at hank you letter to Thom Bell & William Hart, two names that are synonymous with the 60s/70s "Philly Sound". This instrumental tune is an homage to a sound thats haped American music and left an indelible mark on the future of soul.

Mousse T. soulbrother, DJ, producer, songwriter, entrepreneur and label owner of his currently
30years celebrating Peppermint Jam Records opened his archives for his longtime bro and producer
colleague Rob Hardt.
Rob chose Mousse T.’s 2018 single release Melodie featuring Cleah to become an exclusive release
on Sedsoulciety Recordings.
The twist from a soulful House track to a thriving Electro Boogie bouncer feels so organic, that you
hear it as natural and original as such a track can sound.
Punters will be Boogie bumping, Electro bouncing, Disco dancing and hip shaking, when they hear
‘Melodie’ (Rob Hardt Mix) on the dance floors worldwide.
Already a collector’s item and must have for DJs, in true Sedsoulciety Recordings fashion with a
smashing dub version on the flipside

EVERYBODY LOVES THE SUNSHINE is more than a classic.
It is “THE” summer anthem, one of the most covered and sampled Soul tunes by Roy Ayers and the Ubiquity family. This vinyl re-release has been eagerly awaited by music lovers worldwide.

This version was originally recorded as a cover version, produced by Soulciety Records for their label band project named The Soulsociety.

The performance was recorded with the original songwriter and producer of the song, Mr. legendary vibes controller and Soul superstar Roy Ayers.

This recording follows the original 70s feel and instrumentation of the 1976 version, but this time also features Roy Ayers prominently on lead vocals.

Another big difference compared to all other versions by Roy and Ramp is the fact that this version is arranged and produced as a midtempo track.

It will fit perfectly into any DJs set with a focus on Soul, Funk or Hip Hop.

For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl,
including the previously unreleased instrumental version on the flip side with added extra vibes by the master himself.

Die erste Singleauskopplung aus Jimi Tenors neuem Timmion-Album "Is There Love In Outer Space?" wirkt wie eine Wüstenbrise aus dem kosmischen Liederbuch des nigerianischen Keyboarders Mamman Sani aus den 1980er Jahren. Vielleicht ist es genau dieses Panorama, das Tenor und Cold Diamond & Mink uns vor Augen führen wollen, während wir die beiden Seiten dieser Vinyl-Single durchqueren. Spätestens das psychedelische Wüstenblues-Gitarrensolo versetzt uns auf eine kalte Sahara-Sanddüne, wo wir einen magischen Sonnenaufgang auf Mutter Erde beobachten, den nur wenige Menschen erleben dürfen. Dies ist die Art von Jam, bei der man die Augen schließen und sich von den Farblandschaften des Geistes erfüllen lassen kann. Die minimalen Gesangsparts wirken wie ein Willkommensgruß an die Sonne, die langsam am Horizont emporsteigt und bereit ist, ihre brennenden Arme um alle Dinge zu legen - lebende und tote gleichermaßen. Mit ihrem neuen gemeinsamen Projekt hauchen Jimi Tenor und Cold Diamond & Mink den bewährten Stilen des jeweils anderen eine neue Art von Leben ein und liefern eine natürliche Verschmelzung von kosmischer und rauer Soulmusik.

Die erste Singleauskopplung aus Jimi Tenors neuem Timmion-Album "Is There Love In Outer Space?" wirkt wie eine Wüstenbrise aus dem kosmischen Liederbuch des nigerianischen Keyboarders Mamman Sani aus den 1980er Jahren. Vielleicht ist es genau dieses Panorama, das Tenor und Cold Diamond & Mink uns vor Augen führen wollen, während wir die beiden Seiten dieser Vinyl-Single durchqueren. Spätestens das psychedelische Wüstenblues-Gitarrensolo versetzt uns auf eine kalte Sahara-Sanddüne, wo wir einen magischen Sonnenaufgang auf Mutter Erde beobachten, den nur wenige Menschen erleben dürfen. Dies ist die Art von Jam, bei der man die Augen schließen und sich von den Farblandschaften des Geistes erfüllen lassen kann. Die minimalen Gesangsparts wirken wie ein Willkommensgruß an die Sonne, die langsam am Horizont emporsteigt und bereit ist, ihre brennenden Arme um alle Dinge zu legen - lebende und tote gleichermaßen. Mit ihrem neuen gemeinsamen Projekt hauchen Jimi Tenor und Cold Diamond & Mink den bewährten Stilen des jeweils anderen eine neue Art von Leben ein und liefern eine natürliche Verschmelzung von kosmischer und rauer Soulmusik.

Nach einer beeindruckenden Reihe von Alben in den 2010er Jahren, die ihm eine treue Fangemeinde, Auszeichnungen von Zeitungen wie der New York Times, Fresh Air und Pitchfork und einen Platz in der oberen Riege der modernen Americana-Singer-Songwriter eingebracht haben, hat John Moreland in diesem Jahrzehnt bereits zwei unerwartete Wendungen vollzogen, die beide seine starke künstlerische Unabhängigkeit unterstreichen.

Zunächst veröffentlichte er 2022 mit Birds In The Ceiling eine brillante und klanglich vielschichtige Folk-Electronica-Meditation über moderne Entfremdung, die einige seiner Fans überraschte. Nachdem er im November 2022 eine schwierige Tournee hinter sich gebracht hatte, stellte er seine Arbeit komplett ein. Er nahm sich ein ganzes Jahr Auszeit von Auftritten und benutzte 6 Monate lang kein Smartphone.

Nach fast einem Jahrzehnt im Rampenlicht, in dem er ständig von den Erwartungen seines Publikums bedrängt wurde, nahm er sich zum ersten Mal Zeit, sich auszuruhen, zu heilen und zu reflektieren. Das Ergebnis dieses Unplugged-Jahres zu Hause ist 2024 Visitor, ein Folk-Rock-Album, das intim, unmittelbar, zutiefst nachdenklich und verdammt eingängig ist.

Absis returns to Hivern Discs with his Fenix EP. Six cuts that dive deep into Salva's more abstract and slow side keeping his signature reverberating drums and droning landscapes. Comes with poster that will be printed, together with the sleeve, at L'Anacronica in Barcelona, with letterpress on a shiny silver cardboard.

FREQ Records is the record label accompanying the manga "FREQ," created by Nicola Kazimir, illustrated by goodnewsforbadguys, and written by the legendary Dai Sato, who has written scripts for Ergo Proxy, Eureka Seven, Cowboy Bebop, Samurai Champloo, among many others.

The setting of Freq's lore unfolds in a futuristic realm where the influence of sound frequencies governs all aspects of life. In this world, everything from traffic and AR visuals to electricity, warfare, and of course, music, is orchestrated through the manipulation and extraction of sound frequencies. The narrative unfolds within the sprawling expanse of Rephlex, a vast city featuring diverse districts, factions, and social classes.

FREQ001, called Super FREQ, is composed by none other than Machine Girl, known for their breakcore-inspired sonic adventures and highly energetic live shows. For this EP, we might get a compositional glimpse of how Machine Girl will sound in the future.

Nach einer beeindruckenden Reihe von Alben in den 2010er Jahren, die ihm eine treue Fangemeinde, Auszeichnungen von Zeitungen wie der New York Times, Fresh Air und Pitchfork und einen Platz in der oberen Riege der modernen Americana-Singer-Songwriter eingebracht haben, hat John Moreland in diesem Jahrzehnt bereits zwei unerwartete Wendungen vollzogen, die beide seine starke künstlerische Unabhängigkeit unterstreichen.

Zunächst veröffentlichte er 2022 mit Birds In The Ceiling eine brillante und klanglich vielschichtige Folk-Electronica-Meditation über moderne Entfremdung, die einige seiner Fans überraschte. Nachdem er im November 2022 eine schwierige Tournee hinter sich gebracht hatte, stellte er seine Arbeit komplett ein. Er nahm sich ein ganzes Jahr Auszeit von Auftritten und benutzte 6 Monate lang kein Smartphone.

Nach fast einem Jahrzehnt im Rampenlicht, in dem er ständig von den Erwartungen seines Publikums bedrängt wurde, nahm er sich zum ersten Mal Zeit, sich auszuruhen, zu heilen und zu reflektieren. Das Ergebnis dieses Unplugged-Jahres zu Hause ist 2024 Visitor, ein Folk-Rock-Album, das intim, unmittelbar, zutiefst nachdenklich und verdammt eingängig ist.

Bad Nerves, das uneheliche Kind eines One-Night-Stands zwischen den Ramones und den Strokes, spielen rasend schnelle, verzerrte Popsongs und
ernteten mit ihren bisherigen Veröffentlichungen "Dreaming", "Baby Drummer" und "Can't Be Mine" viel Lob. Kurz vor der Veröffentlichung ihres
zweiten Albums, dem brillant betitelten Still Nervous, sind die Jungs noch immer von ihrem Überraschungserfolg überwältigt.
Mit ihrem selbstproduzierten und selbstfinanzierten Debüt spielten sie sich 2020 in die Herzen und Köpfe der Crème de la Crème der alternativen
Musikszene; von Vordenkern wie Dan P Carter und Alyx Holcombe und von Gleichgesinnten wie Billie Joe Armstrong von Green Day und Stone
Gossard von Pearl Jam wurden Bad Nerves sofort als Retter einer Art von Punk angekündigt, die nie auszusterben verspricht. Sie sind mit Royal Blood
und The Darkness getourt und wurden mit Supergrass, den Ramones und Jay Reatard verglichen. Die Zukunft ist laut für Bad Nerves.

This will be available on ltd edition pink vinyl, with only 250 copies pressed.

We are delighted to welcome the incredible Masal to the Up In Her Room family! Masal is a collaboration between Al Johnson and Ozlem Simsek. Ozlem is a Turkish multi instrumentalist whose middle eastern background is entwined with her western studies in classical music. Al performs psychedelic electronic music as Alien.

As Masal they weave harp, Theremin and electronics into a beautiful aural journeys. Having worked with legends such as Andy Bell & Mark Gardener of RIDE, and Sonic Cathedral, plus enjoyed radio play from the wonderful Simone Butler of Primal Scream on Soho Radio, and Mark Riley and Stuart Maconie on BBC 6 Music, we are very excited for you to see what the pair have been cooking up.

‘The Galloping Cat finds this unlikely pair of “neurodiverse nature lovers” collaborating on six meandering tracks of psychedelic grooves, electronic weirdness and motorik basslines mostly wordlessly exploring themes of self-discovery – and it’s stunning.

Sonic Cathedral – March 2023

The Galloping Cat is a work of compassion and tenderness. It’s also surprisingly funk (see ‘Dying Days’ and ‘Dokuz’) with Al revealing hitherto undiscovered Clyde Stubblefield-style chops behind the (digital) drumkit.’

Even Butterfly’s Make A Sound – March 2023

Limited Pink w/ Purple & Cream Swirl Vinyl. To celebrate the 10 Year anniversary of their album The Things We Think We're Missing, Balance and Composure teamed up with longtime collaborator Will Yip to track the record live for a one-time livestream event in late 2023. That performance has been pressed to vinyl & is now available in a one-time vinyl pressing.

Patterns / Threshold, a collaborative split offering from Mesure Divide and Esse Ran, plunges the listener into a disquieting expanse of undulating rhythms and transmuted textures. Here, melodies and harmonies dissolve, fracturing into a heavy, systolic throb that whispers of superposition and entanglement.

Lush synthesizers shimmer with a noetic luminescence, their tones arching and bowing alongside relentless cyclical beats and sloshing electronics. Refractions of rave culture thrumming in stillness, their ecstatic energy dissipating into a radiant hum - a melancholic undercurrent born from the tension between fleeting exuberance and enduring inanition. This is a realm of heady paradox, where rigid structure and fluid intuition converge.

The artists navigate this liminal space with masterful precision, guiding the listener through a landscape of aural oscillations. Perception teeters on the edge of the concrete and the ephemeral; perception dissolves; reality grows soft at the edges.

Patterns / Threshold will be released on physical vinyl records and bandcamp only. No streaming, no bullshit.

Stasis returns to De:tuned with 7 unreleased tracks from his archives for the 'Time Sensitive' LP. Legendary UK techno pioneer Steve Pickton compiles a stunning collection of DAT tape excerpts from the Otherworld studio sessions. Recorded between 1992-1996, this collection represents the peak of the Stasis sound. An in-depth masterclass of emotive techno and simply a must-have for any true techno enthusiast.

Mastered by Matt Colton at Metropolis. Al White created all the graphic work. A separate digital release will also be available at the usual digital shops. Stay tuned!

10 Year Anniversary Gatefold 2LP 10 year anniversary gatefold 2LP edition of Cult of Luna's take on Fritz Lang's Metropolis film, Vertikal. "Somewhere Along The Highway" and "Eternal Kingdom" were inspired by the landscape of Västerbotten, the county we are from. We realised that there was only one way to go for us: to the city, into the future. Making a droney John Carpenter-esque album would be too easy and we've never been about taking the simple route. I was studying film at the time and had been floored by the aesthetic of German expressionism. This resonated perfectly with Erik Olofsson, who had just got into Italian futurism. This was a real challenge. We put in a lot of effort to realize our vision of the stale, artificial city in all aspects of what an album is. The way we played guitar (only down strokes), the production, artwork and band photos, everything was done with the vision as a guide. "Vertikal" is the album where we had the most precise vision of what we wanted to do and worked hardest to transform it from an idea into reality. A lot of things happened during the years between "Eternal Kingdom" and "Vertikal" and I could continue writing for ages but this will do for now. Ten years have passed since its release and what felt like a rebirth of the band, the band that is still ongoing with new goals and missions. It's a full circle kind of thing. At the time we had no label and now we are releasing it on our very own. Life is strange. Johannes Persson - Umeå December 2022

Maya Hawke ist US Musikerin, Songwriterin, Schauspielerin und Produzentin - und nebenbei Tochter von Uma Thurman und Ethan Hawke. Sie hat bisher zwei hochgelobte Musikalben veröffentlicht, "Moss" (2022) und "Blush" (2020), die beide ihre natürliche Begabung für Songwriting und Geschichtenerzählen sowie ihr Händchen für eine eindrucksvolle visuelle Präsentation mit selbst entworfenen Coverdesigns unter Beweis stellen. "Thérèse", die Leadsingle von Moss, erregte mit dem faszinierenden Video unter der Regie von Brady Corbet weltweite Aufmerksamkeit - und zig Millionen Streams - und bescherte Maya einen beeindruckenden TV-Auftritt in der Tonight Show mit Jimmy Fallon. Maya und ihre Band ernteten jede Menge begeisterte Kritiken für ausverkaufte Shows in den USA und der EU, sowie Support-Slots für Bright Eyes und Faye Webster. Auf ihrem dritten Album "Chaos Angel", geht Maya, die mittlerweile 25 Jahre alt ist, mit ihrem sparsamen, ehrlichen Songwriting, mit dem sie sich einen Namen gemacht hat, noch einen Schritt weiter. Es ist ihr bisher klanglich anspruchsvollstes und thematisch nuanciertestes Werk und fühlt sich wie ein Höhepunkt an. In diesen 10 Songs katalogisiert Hawke Umbrüche, Enthüllungen, Schwächen und gebrochene Versprechen, während sie die Muster durchläuft, die wir wiederholen, während wir nach Wachstum streben, uns verirren und unseren Weg zurück zu einem grundlegenden Verständnis von uns selbst finden. "Chaos Angel" ist auch ein Dokument dafür, dass Hawke als Musikerin immer mehr zu sich selbst findet. Nach ihren beiden vorangegangenen Alben war Hawke im Studio abenteuerlustiger und lehnte sich an ihre Ambitionen an. Viele dieser Tracks werden immer noch von der Akustikgitarre und Hawkes anmutigem, aber dennoch gesprächigem Gesang getragen, aber ihre Umgebung ist komplizierter und üppiger als je zuvor. Sie hat sich erneut mit ihren langjährigen Mitarbeitern Benjamin Lazar Davis und Will Graefe zusammengetan, wobei Christian Lee Hutson als Produzent fungierte.

Maya Hawke ist US Musikerin, Songwriterin, Schauspielerin und Produzentin - und nebenbei Tochter von Uma Thurman und Ethan Hawke. Sie hat bisher zwei hochgelobte Musikalben veröffentlicht, "Moss" (2022) und "Blush" (2020), die beide ihre natürliche Begabung für Songwriting und Geschichtenerzählen sowie ihr Händchen für eine eindrucksvolle visuelle Präsentation mit selbst entworfenen Coverdesigns unter Beweis stellen. "Thérèse", die Leadsingle von Moss, erregte mit dem faszinierenden Video unter der Regie von Brady Corbet weltweite Aufmerksamkeit - und zig Millionen Streams - und bescherte Maya einen beeindruckenden TV-Auftritt in der Tonight Show mit Jimmy Fallon. Maya und ihre Band ernteten jede Menge begeisterte Kritiken für ausverkaufte Shows in den USA und der EU, sowie Support-Slots für Bright Eyes und Faye Webster. Auf ihrem dritten Album "Chaos Angel", geht Maya, die mittlerweile 25 Jahre alt ist, mit ihrem sparsamen, ehrlichen Songwriting, mit dem sie sich einen Namen gemacht hat, noch einen Schritt weiter. Es ist ihr bisher klanglich anspruchsvollstes und thematisch nuanciertestes Werk und fühlt sich wie ein Höhepunkt an. In diesen 10 Songs katalogisiert Hawke Umbrüche, Enthüllungen, Schwächen und gebrochene Versprechen, während sie die Muster durchläuft, die wir wiederholen, während wir nach Wachstum streben, uns verirren und unseren Weg zurück zu einem grundlegenden Verständnis von uns selbst finden. "Chaos Angel" ist auch ein Dokument dafür, dass Hawke als Musikerin immer mehr zu sich selbst findet. Nach ihren beiden vorangegangenen Alben war Hawke im Studio abenteuerlustiger und lehnte sich an ihre Ambitionen an. Viele dieser Tracks werden immer noch von der Akustikgitarre und Hawkes anmutigem, aber dennoch gesprächigem Gesang getragen, aber ihre Umgebung ist komplizierter und üppiger als je zuvor. Sie hat sich erneut mit ihren langjährigen Mitarbeitern Benjamin Lazar Davis und Will Graefe zusammengetan, wobei Christian Lee Hutson als Produzent fungierte.

Luka Kuplowskys Stimme ist ein Paradoxon - manchmal klingt sie zu leise, um eingefangen zu werden, als würde sie sich in Rauch auflösen, und im nächsten Moment ist sie so groß wie der Himmel. Es ist eine Stimme, die das Ohr beugt, um zuzuhören, und deren Musik einen einzigartigen Raum für poetische Sprache und improvisatorische Verspieltheit schafft. In den vier Jahren nach "Stardust" von 2020, einem reichhaltigen, jenseitigen Album mit Pop- und Jazzromantik, hat Kuplowsky den Umfang seiner Kreativität durch eine Reihe von Singles und Kollaborationen, die sich mit Ambient-Elektronik, Avant-Pop und psychedelischer Tropicalia befassen, still und leise erweitert. Auf seiner neuen Doppel-LP "How Can I Possibly Sleep When There Is Music" erweitert Kuplowsky sein Interesse an Improvisations-Ensembles und Live-Aufnahmen. Die siebenköpfige Band (Alex Lukashevsky, Anh Phung, Evan Cartwright, Felicity Williams, Josh Cole und Phillipe Melanson) schafft einen einzigartigen Sound aus Weite, Experimentierfreude und ungezügelter Ausdruckskraft, der Traditionen von Jazz, Folk und Blues durchquert. Konzipiert als eine Platte von Adaptionen und Antworten "auf ein Jahrtausend Poesie", vereint das Album die Poesie von Ryōkan Taigu, Bohdan Ihor Antonych, Maria Rainer Rilke, Yosana Akiko, Du Fu, Jalāl ad-Dīn Muhammad Rūmī, W.W.E Ross, Li Bai und La Fontaine und stellt sie in ein dynamisches Umfeld ekstatischen und fantasievollen Ausdrucks. Die neue LP wurde von dem bekannten Produzenten und Songwriter Sandro Perri aus Toronto produziert und vereint internationale literarische und musikalische Einflüsse mit hyperlokalen Toronto-Touchstones zu einem wunderschönen, ausufernden Album voller meditativer und freilaufender Klangabenteuer. In seiner Heimatstadt Toronto ist Kuplowsky nach wie vor ein aktives Mitglied der Jazzund Songwriter-Gemeinschaft. Er organisiert und spielt regelmäßig mit der eklektischen Tribute-Gruppe The Holy Oak Family Singers und arbeitet mit Ian Daniel Kehoe in ihrem Avant-Pop-Duo Ingredient".

Immerse yourself in the legendary atmosphere of Studio 54 in 1980 with this collector’s vinyl by James Brown. Let yourself be carried away by unforgettable hits like “Sex Machine,” “Papa’s Got a Brand New Bag,” and many more. These iconic grooves will transport you back to the golden age of disco music. A must-have for any funk enthusiast and James Brown legend.

SloMo A/V is the cooperation of DJ and producer Chloé Thévenin, who works in the studio to build soundscapes, Dune Lunel, Paris-based art director and Adrien Godin, a young artist from ECV Digital in Paris who works as an art director and graphic designer. This special live recording will now be available on limited edition gatefold vinyl.

After the success of "Miss The Rave" released last year on the Fresh Blood VA series, Onlynumbers is back on Taapion with a solo EP carefully crafted for the French imprint that will definitely make a statement in the artist's discography.

Shit And Shine return to Riot Season where it all began with their debut 'You're Lucky To Have Friends Like Us' (2004) for their 20th anniversary.

Rum And Coke, is only available as a limited edition white vinyl LP (300 copies worldwide) with download code and hype sticker. The album also features vocals from Callum Howe (The Shits) and it’s Shit And Shine at their filthy/noisy best. NON-RETURNABLE.

Guitar/Vocals - Craig Clouse
Vocals - Callum Howe (The Shits)
Drums - He Who Will Remain a Mystery
Mastered by James Plotkin

‘Rum And Coke’ comes stumbling out the speakers with the week old stench of an alcoholic exiting his late night hideaway into the sunshine of a new day

Rum And Coke is the sound playing inside his fermented brain as he heads of in search of his next tipple

It’s grimey, it’s noisy. It’s a bit of a bastard.

Heavy, impenetrable layers of gnarled guitars, slurred vocals, pounding drums all wrapped in a blanket of thick sludge

Paddy and Al from the English indie space/trance/techno/noise-rock band GNOD have a new thing going called Born In A Headlock. It’s heavy experimental stuff; noisy, blackened, mechanical and sometimes even melodic avant-garde post-punk, or something like that, with a violent, dark & maximized post-lofi-ness vibe along it.

In the lineage of their constant exploration of high-quality progressive stoner rock, MY DILIGENCE proudly stands as one of Belgium's most prominent Heavy Psych bands. The Brussels-based trio elegantly combines catchy harmonies and compelling riffs, captivating listeners over the years. Following the success of "The Matter, Form and Power," MY DILIGENCE makes a powerful return with their 4th album, "Death.Horses.Black." on Listenable Records. After an acclaimed European tour, including memorable performances at Hellfest 2023, Alcatraz Metal Festival (2022 and 2023), and DesertFest Antwerp in 2022, the band immersed themselves in the Sainte-Marthe studio in Paris throughout the winter, collaborating with renowned producer Francis Caste (Hangman's Chair, Regarde les Hommes Tomber...). Exploring darker themes, this album marks a turning point in the band's history. The long and profound compositions guide the listener through unexpected territories, creating an auditory experience akin to a lucid dream or trance, oscillating between hope and ultimate darkness. Get ready to dive into this captivating universe as MY DILIGENCE embarks on a tour starting late May, joining the Scottish band DVNE for dates in France and Switzerland, culminating on June 11 at the Orangerie du Botanique in Belgium. The band will enthusiastically continue with Summer festivals, including Mystic Festival (PL) and Motocultor (FR). Stay tuned, as MY DILIGENCE promises an unforgettable musical experience at every stage of their journey.

There's something spellbinding about Rhythm Rhyme Revolution’s seductive intensity and it’s all cleverly wrapped up in this rather sterling EP.

Summertime (nuacidfunk) slowly builds and changes tempo into a disco crescendo, in the style of Love Hangover, with Dan Lipman’s glorious jazz flute/sax weaving in and out of Gareth Tasker’s fantastic coral sitar riff that wouldn’t sound out of place on a Stylistics record.
The flipside - Sunshine Girl’s slinky Afro percussive groove builds pace as DJ Tabu merrily coos about making love in the sunshine and Barrie Sharpe’s vocal hooks chime in agreement:
bolstered by crisp guitar and Kenny Wellington’s jazzy mute trumpet darting around the sonic pool like a magnificent dragonfly. The arrangement has first class interplay and ensemble work too and the funky clavinet and bluesy electric piano really add to this slick
vibe.

Also on the flipside is the already established original version of Summertime from RRR LP #1 - which I can only compare to the Motown classics.

Sharpe is the master tease who builds a grand mood and positively revels in it. You will too,suffice to say, find this record is a real touch of class.

Emrys Baird (Blues & Soul)

Two years in the making, 25-year-old Angelica Garcia's album Cha Cha Palace is the result of an artist's need to SAY SOMETHING. The second song on the record, "Jícama" might only be a minute and 25 seconds in its entirety, but the message spans generations and is one that resonates deeply for Garcia with her Mexican and Salvadoran roots. Singing/shouting, "I see you, but you don't see me Jímaca, Jímaca, Guava Tree_I've been trying to tell ya, but you just don't see, like you I was born in this country," Garcia tells the reality for millions of Americans unapologetically and with passion.That feeling of being between places is something Garcia knows well having been raised between multigenerational, multicultural, homes with step-parents and half-siblings. Additionally, she made the journey from the West Coast to the East Coast and back again multiple times before finally settling down in Richmond, Virginia.She fondly recalls Mexican ranchera music always playing throughout her childhood. Ranchera was ingrained within the maternal side of her family with her Mother, Grandmother, Uncle & Aunt constantly singing the traditional music throughout the home of her Grandparents.Like Mitski, Lorde, Billie Eilish, and Rosalía, Garcia isn't afraid to tear pages out of her diary and express emotions that might be difficult and oftentimes daunting to share given today's social and political environment. Like her peers, she joins a new chapter of musicians who are connecting with their audiences on a level that lives outside the reaches of technology, trends, and social media, the daily experience of feeling torn between saying something and doing something, for being a voice and speaking with your voice, of being Latina while being American. And it's humanity and honesty that audiences are looking for and will find in spades throughout each note of Cha Cha Palace.

All work, all play - Fall of Porcupine tells an emotional story about a young doctor, who struggles to find his place in the small town of Porcupine. The game combines a vibrant, hand-painted world with the harsh reality of working in a flawed healthcare system, as the player accompanies Finley on his journey. While we do not guarantee that the game will make you cry, there's a high chance it might. Step into the town of Porcupine and take to the well-loved scrubs of Finley, the newest fledgling doctor to join the ranks of St. Ursula's hospital. As the seasons in the small-town change and life starts to stir, you'll soon realize that things aren't always what they seem: Not everyone is honest with themselves and others, the healthcare industry is not as illustrious as it seemed in medical school, and the work/life balance Finley strives toward might be impossible to achieve. Pinsel is perfectly capturing the slightly melancholic and laid-back atmosphere of the game in the songs of the soundtrack. Acoustic guitars and other analogue instruments paired with minimal electronic elements that are light but never random. It's almost as loveable as its characters. A game soundtrack highlight that might also be your perfect companion for walks on a sunny day in autumn.

True audiophile joy — now cut at 45 RPM 2LP for better tracking, exceptional bass!
Remastered by Kevin Gray at Cohearent Audio from the original master tapes
Plated and pressed on 180-gram vinyl at Quality Record Pressings!
Stoughton Printing gatefold tip-on heavyweight cardboard jacket


Praise for the 33 1/3 version of The Smoker You Drink, The Player You Get:

"(Side one) ends with the appropriately titled 'Happy Ways,' a Latin-tinged guitar-fest with lovely chunky bass lines that sounds absolutely glorious on this Analogue Productions pressing. The zing of steel string guitar almost sounds dead on the CD and tired on my ancient vinyl pressing, so this is clearly not one of those remasters that's based on an umpteenth generation copy of the tapes. ... You owe it to yourself to hear this album — and it will not sound any better than this spectacular pressing." — Recording = 8/10; Music 10/10 — Jason Kenedy, Hi-Fi+, Issue 148

"An outstanding new 180gm LP reissue from Analogue Productions, with improved sound thanks to a sparkling new remaster by Kevin Gray at Cohearent Audio, makes it clear that this 1973 release remains — with the possible exception of 1978's But Seriously, Folks . . . — the undisputed highlight of Walsh's solo career. ... Another week, another beautiful-sounding, wonderfully packaged reissue from Analogue Productions." Read the whole review here. — Robert Baird, May 2017

In between his stints with the James Gang and the Eagles, Joe Walsh tackled his second solo studio album The Smoker You Drink The Player You Get which became his most successful solo outing. The 1973 LP continued the heavy and light rock mix of tracks found on his previous release, Barnstorm.

Analogue Productions has done reissue justice to the album that AllMusic decries "features some of the most remembered Joe Walsh tracks, but it's not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone's standards."

To obtain the best sound possible we turned to Kevin Gray at Cohearent Audio to remaster this superb album from the original analogue tapes. Next we plated the lacquers and pressed LPs on 180-gram audiophile vinyl at the world's best LP maker, Quality Record Pressings. Top it all off with a deluxe Stoughton Printing gatefold tip-on jacket and you've got the makings for audiophile joy.

But would we stop there? Hardly. Now with our 45 RPM release, the best-sounding version of this rock music gem gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

This amazingly eclectic rock album has Joe's smash "Rocky Mountain Way," his hit "Meadows," plus "Bookends," "Wolf; Dreams" and more! Walsh's ability to swing wildly from one end of the rock scale to the other is unparalleled and makes for an album to suit many tastes.

The Funky French League is a collective of intergenerational DJ’s / producers / musicians, composed
of Young Pulse, Arthur Chaps, Woody Braun, Monsieur Willy, DJ Asko and Uncle T.
Coming from diverse backgrounds, from hip hop to electronic music, the love of groove brought them
together. Their goal is to promote funk and its derivatives through parties, mixes, remixes, radio
broadcasts...
Much more than a musical style above all, they defend a state of mind:
celebration, diversity, inclusivity, good vibrations and the spirit of the party.
They have release compilations through Universal and Warner Music and have their own label Funky
French League records.

Plainly the most radical album of their career to date, Nell’ Ora Blu stands out from the sterile desert of rock ’n’ roll in 2024 like a gore-drenched beacon. What this scintillating detour tells us about the future of Uncle Acid & The Deadbeats remains a mystery, but after enjoying such rich and fruitful artistic indulgence, Starrs’ notoriety as one of heavy music’s most distinctive voices can only increase. An eccentric tour-de-force, Nell’ Ora Blu is the band’s magnum opus. You will have nightmares. Trust no one. Watch your back. Let the blood flow…

Sixth studio album from this globally recognised cult institution. Nell’ ora blu is an epic tribute to Italian crime cinema from the late 60s/early 70s. It features exclusive guest appearances from top stars of the Giallo & Poliziotteschi genres, including Franco Nero and Edwige Fenech.

Plainly the most radical album of their career to date, Nell’ Ora Blu stands out from the sterile desert of rock ’n’ roll in 2024 like a gore-drenched beacon. What this scintillating detour tells us about the future of Uncle Acid & The Deadbeats remains a mystery, but after enjoying such rich and fruitful artistic indulgence, Starrs’ notoriety as one of heavy music’s most distinctive voices can only increase. An eccentric tour-de-force, Nell’ Ora Blu is the band’s magnum opus. You will have nightmares. Trust no one. Watch your back. Let the blood flow…

Sixth studio album from this globally recognised cult institution. Nell’ ora blu is an epic tribute to Italian crime cinema from the late 60s/early 70s. It features exclusive guest appearances from top stars of the Giallo & Poliziotteschi genres, including Franco Nero and Edwige Fenech.

Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it.

Eszaid imagines the sonic paranoia of discovery with Brumes, a 9 part movement for FELT that coalesces industrialised murmurs from the currents of cavernous creep.

An electronic complexion shaded dusk haunts Eszaid’s output. Previous releases on L.I.E.S., Worship and his own Collapsing Market label exemplified a shutters-closed style of rhythmic and melodic variance that teetered on techno-related realities with the lights kept firmly off. The Avignon-based artist lands at Fergus Jones's FELT stable to further the imprint’s unpredictability, coaxing some of his most perturbed oddities yet with Brumes.

The mythologized voyage of Pytheas to the island of Thule provides the abstracted blueprint for Brumes’ 9 parts. Each movement is born of soundscapes inspired by envisaged scenes of his trip to the North, an aural construction of interpretation. Eszaid unwinds tense metronomic rhythms within sparse sound environments, sprung with globular textures of motorik warbles and darkside atmospherics. Its minimalist beat complexions are buoyant by an abstracted fear of the unknown, tracks defined by bobbling industriale, Gregorian dub and atonal menace. It’s an alternative experience to the often faux-jubilance of expeditious revelation, and something that will resonate long after Nord’s beatless modulation fade out.