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Four song Extended Play 7” by Thee Headcoats Sect! “Absolutely fantastic, cracking rhythm 'n' blues, best thing I've heard for years!” - Rob Symmons (The Fallen Leaves) After 23 years off Thee Headcoats (Billy, Bruce and Tub) have again teamed up with Keith Evans of Downliners Sect, to record a top notch Extended Play as Thee Headcoat Sect. 'The Backer Street Irregulars' features Keith on lead vocals, still equipped with all the power, fun and attitude that put him at the top of the tree of British R'n'B vocalists back in the heyday of rhythm and beat. The EP was recorded in honour of their dear friend Don Craine (the leader of the Sect), who passed over in February 2022. TRACKLISTING A1 – The Baker Street Irregulars A2 – Oh Leader, We Do Dig Thee B1 – One Ugly Child B2 – The Ballad of Malcolm Laphroaig (Alt Version)

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

The fifth release of the CiM re-issues is his debut EP for the deFocus-label dating back from 2000. With 'Service Pack' Simon Walley subtly moved away from the dancefloor, creating a pack full with ear tickling and mind twisting electronica. Pure bliss. Now re-mastered and re-cut on Delsin Records.

The musician Roberto Enrique "Tito" Chicoma forged one of the most solid and constant career paths in Peruvian music. Self-taught, he started playing tenor saxophone in his father's orchestra, also playing the trumpet, piano or trombone when the occasion arose. In 1959, at the age of 23, Tito moved to Lima, where he soon joined ensembles such as the Koki Palacios and Armando Boza orchestras, which took him abroad for the first time on tour. A recognized musician in his own right, Tito would later decide to form his own orchestra, which was soon hired by América Televisión, starring on programs such as "El Show de Juan Silva", where he accompanied international artists that visited Lima. In 1966, Tito made his first record under his own name on the MAG label, performing two cumbias by the Colombian group Los Teen Agers. The praise the single received led to the recording of his first LP, "El ritmo de moda", where he continued to compile Colombian songs. At the end of 1967, he dedicated his new LP project to recording two fashionable rhythms at the time: cumbias y boogaloos. The Colombian cumbia became popular in Peru from 1964 onwards, when local orchestras like those of Andrés de Colbert, Mario Cavagnaro, Eulogio Molina and Lucho Macedo recorded cumbia hits, then the genre soared when groups like Los Pacharacos and Los Demonios del Mantaro mixed it with Andean music.

A true veteran of Madrid's fabled electronic scene, Roberto Gemelin takes the reins for local imprint Trauma Collective's sixth missive. Known for releases since the late '90s on labels as diverse as Minifunk, Nehoma, Warm Up, and his own imprint Brainwaves, he returns with the first vinyl release under the Groof alias in 10 years - the Staca EP.

Whether its the industrial-grade broken beats of opener "Take A Break", or the subterranean snarl of "Command" with its ominous swells underpinned by visceral kicks (perfect for those-heads-down moments) - the A side already showcases the diversity within Gemelin's sonic repertoire. Over on the flip, he continues his onslaught with the functional and hypnotic title track, and ends with the mind game of "Stay Puft", awash in searing synth textures and mechanised rhythms.

• DELUXE HEAVYWEIGHT SLEEVE WITH SPOT-VARNISH AND ALTERNATIVE ARTWORK
• INCLUDING INSERT WITH LINER NOTES
• PVC PROTECTIVE SLEEVE
• 1994 BANK HEIST MOVIE PRODUCED BY ROGER AVARY & QUENTIN TARANTINO
• SCORE BY TOMANDANDY (THE HILLS HAVE EYES, THE STRANGERS)
• AVAILABLE ON VINYL FOR THE FIRST TIME
• LIMITED EDITION OF 2000 INDIVIDUALLY NUMBERED COPIES ON FLAMING COLOURED VINYL

Killing Zoe is a 1994 crime / bank heist film written, directed and produced by Roger Avary and co-produced by Quentin Tarantino. Killing Zoe follows the story of a safe cracker named Zed who returns to France to aid an old friend in performing a doomed bank heist. The film was labeled by acclaimed film critic Roger Ebert as “Generation X’s first bank caper movie”. After the production of Killing Zoe, Avary and Tarantino continued their collaboration and produced both the iconic award winning movie Pulp Fiction and several radio dialogues in Reservoir Dogs.

The score to Killing Zoe was produced by Tomandandy, aka Thomas Hajdu and Andy Milburn. This duo is best known for their horror scores like The Hills Have Eyes and The Strangers amongst others and many collaborations with great artists such as Lou Reed, David Byrne, U2 and Laurie Anderson.

Killing Zoe is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on flaming coloured vinyl and includes an insert with liner notes.

No Way Out is the classic rap album helmed by Puff Daddy and featuring his Family of labelmates and trusted collaborators from across the Bad Boy universe and the music industry at large. Debuting in the Summer of 1997, the Grammy Award winning album sold well over half a million copies in its first week of release—securing the Number One spot on the Billboard 200 chart. It also spawned several Billboard Hot 100 singles, including the international chart-topping Biggie tribute “I’ll Be Missing You” which sat in the top spot for 11 consecutive weeks and has the distinction of being the first ever rap song to debut at Number One on the Hot 100 chart.

Originally conceived as an ode to Harlem and a nod to the mob narratives of Scorsese and Puzzo, Puff changed course (and album titles!) following the death of his friend and fellow Bad Boy artist The Notorious BIG. Assembling a powerhouse production team of rotating talent known collectively as “The Hitmen” and stowing away to Trinidad, they spent weeks expanding on the project. What came of those sessions were not only major hit records for No Way Out, but also tracks that appear on Life After Death and various other Bad Boy releases throughout the late 90’s.

Since his debut 25 years ago as a bona fide solo artist, Diddy has gone on to develop countless other talented performers and produce a myriad of projects that reach beyond music into fashion, film and television. Yet and still, No Way Out—which has been RIAA certified 7x Platinum—remains one of Puffy’s most successful, highest grossing albums to date.

“You and Me” by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010’s indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, “You and Me” has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after Eccentric Soul: The Prix Label became Numero’s worst selling compilation, we’ve reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

“You and Me” by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010’s indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, “You and Me” has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after Eccentric Soul: The Prix Label became Numero’s worst selling compilation, we’ve reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

A+ record ... My first reaction was "since when is Tamil making dance music, what can't he bloody do", I'm so here for it. ‘Robert Street’ and ‘Burning So Hot’ are simply future classics IMO.’ - CC:DISCO!

Born in the heartland of Melbourne suburb Fitzroy, Steady Weather (comprised of scene stalwarts Ben Grayson and Tamil Rogeon) bring to light organic dance music from Melbourne’s rich neo-soul and jazz community. With a lineage that leads directly to the founding of groups like Australian funk royalty The Bamboos and orchestral beat music pioneers The Raah Project, Rogeon and Grayson not only bring that heritage to their music, they bring a philosophy of raw emotion and soulfulness to their productions. Tamil also plays strings for Harvey Sutherland’s Bermuda, with the group’s musical DNA echoing in Steady Weather’s productions.

'Transplant Rejection’ is the second in a trilogy of cassette albums released via Muscut in the latter half of 2022. The work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.



There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer currently based in Berlin, Germany. Dalt channels sensory echoes of growing up in Colombia on her eighth studio album ¡Ay!, where the sound and syncopation of Tropical Music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. Dalt's introspective approach to composition, last surfaced on her entrancing 2020 album No era sólida, refracts across ¡Ay! in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and merengue rooted in Dalt's early surroundings awaken on ¡Ay! and give glow to the album's contours. The intuitive melodic structures of this music, processed by memory and modular synths, led Dalt to a mirage of her creative origins and the album she has always wanted to make. ¡Ay! is a tincture of rich acoustic textures filtered through the warmth of Dalt's signature machinic distortion, diffused of easily-defined edges as previously explored on No era sólida and her 2018 album Anticlines. Here, vivid incantations of upright bass, wind ensembles and brass form shimmers of harmonic motif, distilled across radiant rhythms. Dalt worked closely with friend and collaborator Alex Lázaro to cultivate new shapes and colors for slowed down tumbaos and bolero percussion patterns. Together they deconstructed the traditional drum kit into serpentine expansions of congas, bongos, temple blocks and timbales, all of which they tuned to dance among Lucrecia's lucid vocal processions. For Fans of David Sylvian, Rosalía, Robert Wyatt, Rita Indiana, Matías Aguayo, Tom Waits, Meridian Brothers.

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer currently based in Berlin, Germany. Dalt channels sensory echoes of growing up in Colombia on her eighth studio album ¡Ay!, where the sound and syncopation of Tropical Music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. Dalt's introspective approach to composition, last surfaced on her entrancing 2020 album No era sólida, refracts across ¡Ay! in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and merengue rooted in Dalt's early surroundings awaken on ¡Ay! and give glow to the album's contours. The intuitive melodic structures of this music, processed by memory and modular synths, led Dalt to a mirage of her creative origins and the album she has always wanted to make. ¡Ay! is a tincture of rich acoustic textures filtered through the warmth of Dalt's signature machinic distortion, diffused of easily-defined edges as previously explored on No era sólida and her 2018 album Anticlines. Here, vivid incantations of upright bass, wind ensembles and brass form shimmers of harmonic motif, distilled across radiant rhythms. Dalt worked closely with friend and collaborator Alex Lázaro to cultivate new shapes and colors for slowed down tumbaos and bolero percussion patterns. Together they deconstructed the traditional drum kit into serpentine expansions of congas, bongos, temple blocks and timbales, all of which they tuned to dance among Lucrecia's lucid vocal processions. For Fans of David Sylvian, Rosalía, Robert Wyatt, Rita Indiana, Matías Aguayo, Tom Waits, Meridian Brothers.

The Layers are a collection of compilations by 7K! Records to support a range of contemporary classical music. Duet Layers pays tribute to the first edition of Piano Layers, String Layers, Ambient Layers and Wind Layers. In this new compilation, each track is made up of two musicians merging their musical expressions together. The result is a collaborative record between twelve of the most interesting artists from around the world, sharing their sonic landscapes. Featuring: Hania Rani, Colin Stetson, Niklas Paschburg, Bryan Senti, Simon Goff, Dobrawa Czocher to name a few.

"Switch Records was started by myself alongside Bill Campbell in the early eighties", says Aaron Harry - a library music producer who began using Lansdowne Studios in Holland Park for his productions on the renowned Bruton Music label. The studios had been operating there since the late 1950s, becoming the breeding ground for some key & early UK jazz and pop records (owner Adrian Kerridge teamed up with Joe Meek to lay down the first recordings there in 1958). It was here that Harry and engineer Chris Dibble started to work together as a regular team. After spending some time at the studio observing them in acton, Kerridge and (Burton MD) Robin Phillps "recognised what a good team Chris and I had become. So, it was inevitable that I would also make pop music alongside Production Library Music."

The output of the relatively obscure Switch label is the result of this work, and Freestyle has licensed 3 of the most hard to come by 12"s as part of their series of rare & foundation UK funk & soul records. This one, Steppin' Out on the Groove was written by the late Tony Jackson, "a renowned session singer/musician that I had worked with on numerous occasions" says Harry, and also a key brit-funk figure who formed part of a string of UK groups throughout the 70s and early 80s (Sweet Dreams, Midnight, Ritz & Indigo) and later went on to be successful as lead singer in Rage. He died in 2001. Backed up with a killer instrumental that really lets the solid production shine, this one is an essential in any DJ or collector's bag.

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that's the story. In truth, Edward Blankman's Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder. A tender, wistful follow up to 2020's To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder created Blankman's story to channel his own grief, with bittersweet tenderness. Read the liner notes (or watch the mini-doc), and you'll be transported to the quiet shores of Cape Cod in the early 70s, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer. The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward's cottage. Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder's ensemble, and Edward Blankman (Brendan) on the Wurlitzer. The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen) at famed Electro-Vox Recording Studios. To create realism for Edward's story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on lauded vintage equipment including the legendary Neve-8028 console. This was, hands down, one of the very best records of last year so don't miss out on this extremely limited pressing for UK and Europe. Under license from Jazz Dad Records.

ONLY 400 PRESSED. NO RETURNS, ONLY ORDER TO DEMAND. With New Confusion they've usurped their own outré paradigms yet again, resulting in a demented heat-haze panorama of delirious beat-driven abandon and elucidated neural pathways. As ever the brainchild of Texan king of outlaw brinkmanship Craig Clouse, these nine abject and glorious meditations exist in an alternate dimension whereby a loop-driven exploratory framework is joyridden with alacrity offroad by a moonshine-swigging convict, a zone whereby aural scrap metal is alchemically transformed into gleaming, abstract and intimidating structures and sculptures anew. It may not have occurred to the average head that the sound of Tropicália melting gleefully in the sun (as here essayed on 'Miami') might be to their satisfaction, nor that the image of J Dilla trapped in a K-hole with Butthole Surfers would do anything but make them mildly anxious.

At the Moers Festival 2018, OXBOW got together with Peter Brötzmann to deliver a memorable performance, bringing out the best of two legends in their very own genres while playing old and new Oxbow songs together. Oxbow, formed in 1988 in San Francisco, plays a blend of noise rock, avant garde jazz, musique concrè te and blues, creating intimate soundscapes, with overtones of paranoia, revulsion and exaltation. They released a couple of cult albums, eg. on. Neurot, Hydra Head. Peter Brötzmann , active since the 60s with his distinct saxophone sound, is one of the key musicians in European Free Jazz. ,I think we have at least one thing in common: a certain kind of energy, which we could share and where we will meet." Peter Brötzmann *** Peter Brötzmann -saxophone / Eugene S. Robinson - vocals / Niko Wenner - guitars, piano / Dan Adams - bass guitar / Greg Davis - drums

The Layers collections showcase compilations by 7K! Records, supporting a range of contemporary classical music. Duet Layers pays tribute to the first editions of Piano Layers, String Layers, Ambient Layers and Wind Layers, honoring the layers thematic template, and challenging the artists to work together to find a common ground. The results of this are something new and unexpected.

The first edition to be pressed on vinyl, Duet Layers contains six duets. The result is a collaborative record written and performed by twelve of the most interesting artists from around the world, a sharing of sonic landscapes.

The release opens with a collaboration between the saxophonist Colin Stetson and pianist Hania Rani. Divided equally between an astonishing piano line, synths, a trace of vocals and the stunning melody of the saxophone. The music finds its feet in silence and developing into a new world full of sounds. The second track slowly moves into an artistic-axis held between Stefano Guzzetti’s piano and Neil Leitner’s (Echo Collective) viola – paying tribute to the slow passage of time. Following, the Polish cellist Dobrawa Czocher and British-Berlin violinist & producer Simon Goff, meet with a dark and poignant track.