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Dudley Perkins, aka Declaime, is a visionary wordsmith and sonic architect who has been a pivotal figure in the underground hip-hop scene since the mid-90s. Renowned for his introspective lyricism, intricate rhyme patterns, and innovative production techniques, he has consistently pushed the boundaries of the genre. Declaime's music is a fusion of soulful samples, jazzy undertones, and raw, unfiltered emotion.

His ability to seamlessly blend intricate beats with thought-provoking verses has earned him a dedicated following and critical acclaim. Throughout his career, Declaime has collaborated with a diverse range of artists, including Madlib, Oh No, Georgia Anne Muldrow, Flying Lotus, knxwledge, Aloe Blacc, Kankick, Saul Williams, Latoya Williams, Hudson Mohawk, Casual and many other notable names. His solo projects and collaborative efforts have left an enduring impact on the hip-hop landscape, inspiring countless artists and shaping the sound of future generations.Dudley has unveiled his latest 9-track album titled "Flatulent," set to be released on the esteemed Urbnet label. The album, produced by German beat maker and producer Der Brxwnsxn, highlights Declaime's signature blend of intricate rhythms, haunting samples, and ethereal melodies.

On her new album, Two Whole Summers, Half A Life, Lisa Bassenge is once again accompanied by her trusted fellow musicians, pianist Jacob Karlzon and bassist Andreas Lang, with whom she has already realised numerous projects. Typical of Bassenge, the repertoire comprises a seemingly wild yet harmoniously connected mix of pop, singer-songwriter and jazz elements. The spectrum ranges from Elliott Smith to Duran Duran, from Billie Holiday to Björk. ‘It's always about the expressiveness of the songs – that's the common thread for us,’ emphasises the Berlin-based artist. The album features a track by Hank Williams as well as Madonna's ‘Frozen’ and “Catch” by The Cure. Two original compositions are also part of the recording: the title track ‘Two Whole Summers, Half a Life,’ a tribute to the power of friendship and youth, and the neo-folk ballad ‘I'm Getting Old.’ Both works impressively underline Lisa Bassenge's own artistic signature. For over two decades, Lisa Bassenge has stood for stylistic openness and a characteristic voice that lends new nuances to every song. Despite all the diversity, jazz remains the tonal basis. The Scandinavian-style relaxed sound of Karlzon and Lang lends the interpretations a soft, atmospheric depth.

Known Associates ist der aufregende Nachfolger ihres gefeierten Albums The Interrogator aus dem Jahr 2024, das für viel Aufregung sorgte, und ein Fiebertraum aus Van Morrison-Hörnern und Leonard Cohen-Gefühlen und bestätigt den stetig wachsenden Ruf von Elizabeth Nelson als eine unserer wichtigsten Songwriterinnen. Wie ihre langjährige Heldin Lucinda Williams hat sich Nelson langsam aber sicher einen Namen gemacht und gleichzeitig einen immer größeren literarischen Ruf erworben, der sie zu einer gefeierten Autorin für die New York Times, den Atlantic, den New Yorker und Oxford American gemacht hat. Außerdem hat sie Liner Notes für Neuauflagen von Bob Dylan und den Replacements geschrieben. Majestätisch, bunt zusammengewürfelt und voller Geschichten über Pech, zerbrochene Erleuchtungen und Secondhand-Wunder, die jedem Fan von Richard Thompson, David Berman oder Tom Waits bekannt sein dürften, sagen Mystiker und Statistiker bereits: Known Associates ist eines der besten Alben des Jahres 2026, und Elizabeth Nelson ist eine der besten Singer-Songwriterinnen der Welt.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Chess Records wurde 1950 von den polnischen Einwanderern Leonard und Phil Chess gegründet und entstand im Süden Chicagos, aber der Einfluss ist weltweit und über Generationen der Popmusik hinweg spürbar
– von Acts der British Invasion wie den Beatles, den Rolling Stones und Eric Clapton, die Chess-Künstler
als ihre Vorbilder nannten, bis hin zu den heutigen Stars wie Beyoncé, Jack White, Questlove und Bruce
Springsteen.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten, beginnend mit Muddy Waters’ „The Best of Muddy Waters“ und Howlin’
Wolfs „Moanin’ in the Moonlight“.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren, darunter Chuck Berrys „Berry Is on Top“, Etta James’ „At Last“, Little Walters
„The Best of Little Walter“ und Sonny Boy Williamson IIs „The Real Folk Blues“.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Chess Records wurde 1950 von den polnischen Einwanderern Leonard und Phil Chess gegründet und entstand im Süden Chicagos, aber der Einfluss ist weltweit und über Generationen der Popmusik hinweg spürbar
– von Acts der British Invasion wie den Beatles, den Rolling Stones und Eric Clapton, die Chess-Künstler
als ihre Vorbilder nannten, bis hin zu den heutigen Stars wie Beyoncé, Jack White, Questlove und Bruce
Springsteen.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten, beginnend mit Muddy Waters’ „The Best of Muddy Waters“ und Howlin’
Wolfs „Moanin’ in the Moonlight“.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren, darunter Chuck Berrys „Berry Is on Top“, Etta James’ „At Last“, Little Walters
„The Best of Little Walter“ und Sonny Boy Williamson IIs „The Real Folk Blues“.

The Grace EPs by legendary singer-songwriter Jeff Buckley, is a 19-track, five x EP box set, comprising the following EPs: 'Peyote Radio Theatre' July 1994, 'Last Goodbye' January 1995, 'So Real' [June 1995], 'Live From The Bataclan' [October 1995] and 'The Grace EP' [February 1996],

This unique package contains all five twelve inch vinyl records each in their own full colour jacket, a double sided full colour insert with extensive liner notes, all carefully packed in a heavyweight leather laminate textured 15mm-spined outer sleeve.

The five discs that make up the Grace EPs box-set are a collection of live performances, B-sides and studio versions from songs that originally appeared on Buckley's "Grace" album.

Peyote Radio Theatre and So Real were promotional-only releases that weren't commercially available. The others are rare imports: Live from the Bataclan came out in France, The Grace EP in Australia, and Last Goodbye in Japan,

This EP set features "Last Goodbye", "Grace", "So Real" and two amazing live versions of his classic hits "Hallelujah" & "Mojo Pin".

The Grace EPs also features a whopping 12-minute version of Van Morrison's "The Way Young Lovers Do," a medley of "Je N'En Connais Pas la Fin/Hymne A l'Amour," Hank Williams's "Lost Highway," and a 14-minute take on Alex Chilton's "Kanga-Roo."
Finally there is a bonus track added to the The Grace EP; "Tongue," a spooky ambient 11-minute studio instrumental.

The Lost Highway of Hank Williams and the Highway To Hell of AC/DC are indeed the same damn road. Featuring 12 classic outlaw country songs done in their own inimitable style, the album was recorded completely live in the studio. The bad are supporting the release of the album as well as their 25th Anniversary with extensive live touring and festival throughout the UK, Ireland, and Western Europe throughout 2026. Full UK Tour starting FEB 11 Nerve Centre Londonderry. 12th Whelan's Dublin. 13th The Empire Music Hall Belfast. 14th Liquid Room Edinburgh. 15th PJ Molloys Dunfermline. 17th The Georgian Theatre Stockton-on-tees. 18th Docks Academy Grimsby. 19th Pocklington Arts Centre. 20th The Hairy Dog Derby, 21st Picturedrome Holmfirth. 22nd The Drill Lincoln. 24th 53 Degrees Preston. 25th Queens Hall Narberth, 26th HAYSEED DIXIE Cardiff. 27th Sin City Swansea. 28th Crickhowell. MAR 1st HAYSEED DIXIE Merthyr Tydfil. 3rd The Fleece Bristol, 4th Roadmender Northampton. 5th The Factory Live Worthing. 6th The Harlington Fleet. 7th MK11 Milton Keynes. 8th Hertford Corn Exchange.

Opaque Pink Version

Bubble Bath for Giants is an ode, a Tribute, a reverence for Oceans, for the Mighty Magnificent Power of Fairies, to the energy that we are all everything, whole, well, but in different sized and shaped vessels at times . . . It is a Celebration of Gentleness and of incredible Force, and Charge . . . These, I sea as the same. The Yang Springs from the Yin and together they ever reflect, dance, and express themselves . . .

Many Bells, Bowls, Ceramics, Chimes, Cymbals, Drums (Bass, Sakara, Surdo, Tom, and many more,) Gongs (Chao, Cup, Indonesian, Sun, and Symphonic,) Keyboards (Metal, Synthesizer, and Wooden,) Percussion, Plant Leaf Bundles and Fronds (Bamboo, Eucalyptus, and Palm,) Ratlles, Shakers, Voice, Whistles, and Sound Design by Carlos Niño.

Featuring:
Luis ​Pérez Ixoneztli, Bernard Xolotl, ​Aaron ​Shaw, Surya ​Botofasina, Nate Mercereau, Laraaji, Darius ​Jones, Sheila Govindarajan, ​Idris Ackamoor, Deantoni ​Parks, André 3000, ​Marshall Allen, Sam ​Gendel, Sibusile ​Xaba, Mia ​Doi Todd, ​Anisia Uzeyman, Saul Williams, Jojo Abot, Jowee ​Omicil, Aztlan ​Unearthed

///

Cover Photo by Carlos, from in the Maui Waters
Art Direction, Design and Original Art by Nep Sidhu
Layout Production by Jonny O'Hara

Recorded by Carlos Niño in Topanga, California, and by some of the Artists named above, from their Homes . . .

Mastered by David Allen

///

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

Sweet Pill ist eine Emo-Band aus Philadelphia, deren Songs sich zwischen Pop und Hardcore bewegen. Sie veröffentlichten ihr Debütalbum Where The Heart Is (2022) im selben Jahr, in dem sie bei Topshelf Records unter Vertrag genommen wurden, und seitdem befinden sie sich auf Erfolgskurs. Unter anderem wurde sie von Hayley Williams von Paramore wärmstens empfohlen, der ihr Song "High Hopes" so gut gefiel, dass sie ihn in ihrem Podcast "Everything Is Emo" erwähnte. Das zweite starke Album von Sweet Pill, Still There's a Glow, ist eine widerstandsfähige Antwort auf den zunehmenden Druck nach ihrem erfolgreichen Debüt Where The Heart Is. Angesichts der Erschöpfung verwarf die Band frühe Demos, um ihrer psychischen Gesundheit Vorrang zu geben, und schuf schließlich ein rohes Dokument der Selbstreflexion, das Sängerin Zayna Youssef als "das Schwierigste, was ich je tun musste" bezeichnet. Das neue Album markiert eine bedeutende Entwicklung in ihrer kreativen Dynamik und ist das erste, das vollständig als Gemeinschaftswerk von Youssef, den Gitarristen Jayce Williams und Sean McCall, dem Bassisten Ryan Cullen und dem Schlagzeuger Chris Kearney geschrieben wurde. Aufgenommen im Gradwell House mit den langjährigen Produzenten Matt Weber und Dave Downham, zielt das Album darauf ab, die kinetische Energie ihrer Live-Shows einzufangen - Auftritte, die ihnen die Unterstützung von Stars wie Hayley Williams und Doja Cat eingebracht haben. Das Ergebnis ist eine gehobene Mischung aus komplexem Math-Rock, drängendem Punk und herzlichem Emo. Als woman of color in der Alternative-Szene hofft Youssef, dass das Album und die Tournee eine vorurteilsfreie Community für die Fans fördern werden. Still, There's a Glow ist ein Beweis für das Überleben und Wachstum der Band und lädt die Zuhörer dazu ein, ihr eigenes Licht am Ende des Tunnels zu finden. CD & farbige LP erhältlich

By 1968, Soul music is fully in the ascendant, with some of the tracks getting funkier and funkier - no Blues or R & B any more. So this album of music from the Lone Star state continues the tradition of mixing up big star artists with lesser known singers - plenty of uptempo dancers and a few delicious ballads for a change of pace. Definitely the best of Texas ‘68!

One of the UK’s most singular voices, Murkage Dave has spent the last decade crafting a body of work that refuses to fit neatly into any genre box. His music, loosely pop but informed by indie, outsider art, and an instinct for storytelling, is built on honesty, empathy, and fearless social commentary. Across his career, he has earned a cult following and praise from Pharrel Williams, Iggy Pop, BBC Radio 6 Music, The Guardian, Rolling Stone, Pitchfork, Clash, Complex, Highsnobiety, and Vogue. His debut album Murkage Dave Changed My Life (2018) amassed over 12 million Spotify streams, while follow-up The City Needs A Hero (2022) reached #10 on the UK iTunes Chart and #15 on the UK Independent Chart.

The album has been a labour of love spanning nearly a decade with the origins of KAYTRAMINÉ trace back to 2014, when Aminé unveiled "Not At All," an unofficial remix of KAYTRANADA's 2013 track "At All." Impressed by Aminé's rendition, KAYTRANADA extended a hand to collaborate officially, leading to his production contributions on three songs from Aminé's 2015 mixtape, Calling Brio. The upcoming album showcases the pair reigniting their innate chemistry, further solidifying their musical bond.

Der mehrfach preisgekrönte Londoner Jazz-Saxofonist startet mit seinerm neuen Soloalbum sein eigenes Label.

Multiinstrumentalist, Produzent und Künstler Shabaka (Hutchings) veröffentlicht mit "Of The Earth" sein drittes Soloalbum, das gleichzeitig das erste ist, das über sein eigenes Label Shabaka Records erscheint und komplett von ihm selbst geschrieben und produziert wurde. Auf "Of The Earth" kehrt Shabaka zu seinem charakteristischen Saxophonklang zurück, ergänzt durch ausgefeilte Elektronik und Produktion sowie traditionelle Holzblasinstrumente und Perkussion aus aller Welt. Diese Kombination unterstreicht sein vielseitiges Talent und prägt den Gesamtklang des Albums. Hutchings genießt hohes Ansehen für seine Arbeit mit The Comet Is Coming, Sons Of Kemet, Shabaka And The Ancestors sowie für die beiden jüngsten Soloprojekte "Perceive Its Beauty, Acknowledge Its Grace" (2024) und "Afrikan Culture" (2023). Als Musiker arbeitete er bereits mit einer Vielzahl namhafter Künstler zusammen, darunter Andre 3000, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams und viele mehr. "Of The Earth" erscheint als schwarze Vinyl-LP, als limitierte kornblumenblaue Vinyl-Edition und als CD. Beide Vinyl-Formate enthalten ein Booklet mit Hutchings' eigenem Artwork.

Night Punch sind fünf Musiker aus Hamburg, die einen einzigartigen, apokalyptischen Sound zwischen Hardcore Punk, Dark Punk und kalten Synth-Elementen formen. Mit ihrem 2023 erschienenen Album "Where Sins Bloom (So Does Death)" lieferten sie eine gnadenlose, 32-minütige Klangattacke aus druckvollen Schlagzeug- und Bass-Teppichen, sägend verzerrten E-Gitarren, eisigen Synth-Flächen und wütenden Vocals, roh, kompromisslos und tief in einer düsteren Klangästhetik verankert. Seit ihrer Gründung hat sich um Night Punch, deren Identität stets in Masken zerfällt, eine treue Szene gebildet; sie veröffentlichen limitierte Tapes und Vinyls, spielen auf Festivals wie dem Get Lost! Fest und überzeugen mit intensiven, energiegeladenen Live-Shows, die den DIY-Ethos der Band unmittelbar spürbar machen. 2026 setzen sie diesen Weg mit dem Album "godisnowhere" fort: noch härter, direkter und aggressiver als der Vorgänger, ohne den eigenen Klangkern aufzugeben. Die Songs wirken dichter, kantiger und unerbittlicher, behalten aber die vertraute Mischung aus massiver Rhythmik, apokalyptischer Stimmung und nihilistischer Wucht bei. Eine weitere Eskalationsstufe im kompromisslosen Kosmos von Night Punch

As the meteoric rise of reggae began to captivate listeners around the globe in the 1970s, innovative artist Augustus Pablo emerged as vital creative force pushing the genre forward. An important figure in the Jamaican music scene during this remarkable era, Pablo was not only a skilled musician but an influential producer who shaped the sound of countless classic recordings. While his instrumental work and legendary dubs remain essential, Pablo was also responsible for iconic vocal tracks from a wide range of local talent, many of which were released on his own label Rockers. Now, Nature Sounds is proud to present Rockers United!, a collection of classic and rare vocal selections from the Rockers archives, all produced by Augustus Pablo. Deeply rooted in hypnotic, bass-heavy instrumentation, the album features remastered audio transferred from the original master tapes, with vocals by Jacob Miller, Delroy Williams, Hugh Mundell, Tetrak, Junior Delgado, Earl Sixteen, Spliffy Dan and more.

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Recorded using the same techniques and equipment used to create the now legendary catalogues of music sold to the film and television industry of the 60's & 70's, The Library Archive could easily sit alongside the plain minimalist covers of KPM or Telesound.

The fierce Brass of 'Whack, Slap & Blow' and 'Kaye Okay' could both be a Keith Mansfield cut, acting as a theme tune to a glamorous saturday night tv show circa 1972. 'Duck Strut' is a cheeky slice of Bass driven Brit-funk, Muted horns and flute adding an element of Quincy Jones amongst the grooving drums and percussion. 'The Needle Nose', 'Midnight Heist' and 'Wiretap' are amongst the more cinematic tracks on the album. Moody and atmospheric, they conjure up images of dark alleys, shadowy figures and dead letter drops. 'Wigged out' channels the wonky organ weirdness of Italian library legends I Marc 4 while 'Nuclear Wind I & II' use Moog and Mellotron as electronic counterpoint to ethereal voices. 'Siren's sea's' acoustic interlude conjures up images of distant clifftops, gossamer vocals enticing you onto the rocks before album closer 'Planet Nine' traverses the cosmos.

Jackie Mittoo, organ and piano maestro, was also one of the founding members of Jamaica's top session band The Skatalites. Musical arranger for Studio One he provided the backbone to so many of Jamaica's finest tunes. The invention of Ska music and the sounds that rode through the Rocksteady and Reggae period all carry his stamp. Whether it be in his various incarnations, the aforementioned Skatalites, The Soul Brothers, Soul Vendors and the Sound Dimension or under his own name, his distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio One's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry (guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso, this band would back all the hits coming out of Studio One for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!.

1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In1967 the hits at Studio One were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the labels solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line up that included Leroy Sibbles (bass), Roland Alphonso and Cedric Brooks (saxophone), Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio One they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio One's output carried his sound.

Jackie Mittoo emigrated in the late 60's to Canada, but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio One's supremacy and needed his magic touch. Such Producers as Bunny Lee used Jackie Mittoo on many of his sessions, Sugar Minott among others were always glad of his services.

We have captured some fine 1970's cuts that feature Jackies numerous talents, showing his ability to embellish tracks with a feel that few could better, Musical arranger, band leader all round studio ace. We hope you enjoy the set and I'm sure you'll agree with us Jackie Mittoo does indeed Ride On.........

With their upcoming sixth studio album, “What A Time To Be Alive” , The Lone Bellow embarks on a bold new chapter while honoring the deep bonds that have defined their journey. Written collaboratively for the first time with their full touring band—founding members Zach Williams, Brian Elmquist, and Kanene Pipkin joined by drummer Julian Dorio and multi-instrumentalist Tyler Geertsma—the album channels the raw, ecstatic energy of the band’s live show into a dynamic collection of songs that pulse with warmth, honesty, and human connection. Recorded live in Muscle Shoals, AL, after a writing retreat in a converted Kentucky firehouse, the album is both a celebration and a reckoning: of friendship, loss, love, and resilience. From the gritty, Stones-tinged opener “After The Rain” to the soul-stirring closer “What A Time To Be Alive,” the record captures the joy and vulnerability that have long defined The Lone Bellow’s sound—lush harmonies, heartfelt lyrics, and genre-blurring arrangements steeped in folk, rock, and gospel. The album’s creation was marked by setbacks, including the theft of early recordings, but the outpouring of support from their fanbase reaffirmed what the band has always known: their music is a shared experience. That spirit echoes throughout the album, whether in anthems like “Common Folk” and “I’m Here For You,” or in intimate reflections like “You Were Leaving” and “Night Goes Black.” Since their acclaimed 2013 debut, The Lone Bellow has appeared on The Tonight Show, Austin City Limits, and The Late Show, topped Americana charts, and headlined storied venues from Carnegie Hall to the Ryman Auditorium. But with their next album, they reaffirm their commitment not just to making music, but to building community—on stage, in song, and around the table.

Turner Cody first collaborated with Nicolas Michaux and the Soldiers of Love (Clément Nourry, Ted Clark, and Morgan Vigilante) on his album Friends in High Places (2021). This album marked a turning point for Turner Cody, in which he started to incorporate country influences to his songwriting. But that was only the beginning, and Out For Blood is without question a country album. This new album offers the perfect canvas for him to express his poetic lyricism, and to paint portraits inspired by American mythologies. The songs explore such themes as freedom, individualism, destiny, sin and redemption. Rooted in traditional narratives yet resonating with our times, these songs are to be seen as parables: imaginary characters faced with the dichotomy of good and evil. In the vein of Kris Kristofferson, Townes Van Zandt, or John Prine, Out For Blood stands as a major contribution to the great repertoire of American song. ut For Blood bears witness to a transformation in Turner Cody"s life. While his songwriting already hinted at a certain Americana, it primarily reflected his twenty years spent in New York and the legacy of the anti-folk scene-closer to the Velvet Underground than to Hank Williams. Then came the move: Cody and his family left New York to settle in St. Louis, on the banks of the Mississippi. This change of scenery and perspective fueleda new way of writing. The challenge was clear: maintaining the subtlety and textural work characteristic of his previous works while integrating the country heritage of the new songs. The collaboration between Turner Cody and Nicolas Michaux signs the perfect communion between an artist who writes in the language of poetry and another who crafts sound and textures. The Soldiers of Love, far more than a backing band, have influences ranging from jazz to fusion, from pop to Congolese rhythms. Their subtle, atmospheric sound merges with Turner Cody"s "three chords and the truth" to create this unique magic!

Das Album „Everybody’s Gotta Learn Sometime“ ist eine Sammlung von Becks Liebesliedern, die alle
bereits veröffentlicht wurden, mit Ausnahme von zwei Titeln, die Beck zwar schon früher veröffentlicht,
aber für dieses Album neu aufgenommen hat: „True Love Will Find You in the End“ und „Your Cheatin’
Heart“.
Mit legendären Titeln wie „Everybody’s Gotta Learn Sometime“ aus dem Soundtrack zu „Eternal Sunshine of the Spotless Mind” und einer gefühlvollen Interpretation von „I Can’t Help Falling In Love“ ist dies
eine liebevoll zusammengestellte Songsammlung von Raritäten, Bonusmaterial und Coverversionen exklusiv
auf rotem Vinyl.

Girl group greatness, courtesy of the Chicago-based Hutchinson Sisters (with Theresa Davis on this record) and co-producers Isaac Hayes, David Porter and Ronnie Williams! Recording at Muscle Shoals and Stax studios seems to have added a little grit to The Emotions' sound, too; this 1971 classic on the Volt label offers the perfect blend of sweet and sassy. ''Show Me How'' was the hit, but it's ''Blind Alley'' that made Untouched one of the most collectible albums of its kind: that track's one of the most sampled in all of pop and hip hop, most notably by Big Daddy Kane (''Ain't No Half-Steppin''') and Mariah Carey (''Dreamlover''). Pressed in black and clearwater blue vinyl editions, and cut ALL-ANALOG from the original two-track master!
A1. Take Me Back A2. Nothing Seems Impossible A3. Boss Love Maker A4. It's Been Fun A5. Love Ain't Easy Onesided B1. Blind Alley B2. Show Me How B3. If You Think It (You May as Well Do It) B4. Love Is the Hardest Thing to Find B5. Tricks Are Made for Kids B6. Boy. I Need You

Girl group greatness, courtesy of the Chicago-based Hutchinson Sisters (with Theresa Davis on this record) and co-producers Isaac Hayes, David Porter and Ronnie Williams! Recording at Muscle Shoals and Stax studios seems to have added a little grit to The Emotions' sound, too; this 1971 classic on the Volt label offers the perfect blend of sweet and sassy. ''Show Me How'' was the hit, but it's ''Blind Alley'' that made Untouched one of the most collectible albums of its kind: that track's one of the most sampled in all of pop and hip hop, most notably by Big Daddy Kane (''Ain't No Half-Steppin''') and Mariah Carey (''Dreamlover''). Pressed in black and clearwater blue vinyl editions, and cut ALL-ANALOG from the original two-track master!
A1. Take Me Back A2. Nothing Seems Impossible A3. Boss Love Maker A4. It's Been Fun A5. Love Ain't Easy Onesided B1. Blind Alley B2. Show Me How B3. If You Think It (You May as Well Do It) B4. Love Is the Hardest Thing to Find B5. Tricks Are Made for Kids B6. Boy. I Need You

Cinema Serenade is an album by John Williams and Itzhak Perlman, featuring orchestral performances of famous and notable film themes,
with Perlman's violin at the forefront.. Amongst others, it features work by Michel Legrand, Elmer Bernstein, John Barry, André Previn and John Williams himself.

All the work on this album is conducted by Williams and performed by the Pittsburgh Symphony Orchestra. It also features exclusive liner notes from well-known film critic,
musicologist and professor Royal S. Brown,
Cinema Serenade is available as a limited edition of 500 numbered copies on aquamarine coloured vinyl.

From Ace Records’ early days, there’s always been a place in our hearts for music’s feminine side. A year having flown by since the release of our last compilation spotlighting the US girl group sound of the 60s – think castanets, anguished teen sirens, Svengali-esque producers and mini-sonatas about dreaming, dancing and moody boyfriends (sometimes deceased) – means the time has come for a new vinyl-only volume.

As 1968 drew to a close, the golden age of girl groups had seemingly been and gone: the Shangri-Las, Ronettes and Chiffons, for example, hadn’t had a hit record of note since 1966. Then along came ‘Condition Red’, a cleverly produced psychodrama performed by the Goodees, who grace the front cover and open the top side of this new comp in dramatic style. Over on the generally more soulful second side, Les Chansonettes are first up with ‘Don’t Let Him Hurt You’, a big production stomper written with Martha & the Vandellas in mind.

Elsewhere, Beverly Williams performs the very Lesley Gore-like ‘One Way Street’; ‘Go Away’ by the Murmaids (of ’66) is a lavishly produced number with a chamber pop vibe; ‘What Did You Do Last Night’ by the Drake Sisters was recorded in Phase-O-Phonic Sound; the lyrics of Denita James’ ‘Wild Side’ call to mind genre classics such as ‘He’s A Rebel’, ‘Out In The Streets’ and ‘Chico’s Girl’; and the Sweathearts close the show with a gorgeous harmony-filled update of the mid-50s oldie ‘Eddie My Love’. As usual in this series, the inner sleeve features a picture-packed 4,000-word track commentary by long-serving compiler Mick Patrick.

20 page book with gold foiled cover, featuring photographs from 1960s in and around Sunderland.

Romeo’s Fall is an original score for voice by artist and composer EXLRUTH (Ruth Hughes), a new work traversing romance and romanticism in a post-industrial North East England. Performed by countertenor Nik Rawlings with accompanying double bass from Caius Williams.

Informed by congregation, community and euphoria, exploring the meeting points of contemporary dance music cultures, traditional hymnal form, and the sonic appropriation and influence of regional industry, influenced by the legacy of the New Monkey. Addressing alternative trajectories of communion; on dancefloors (Makina) versus the nuclear act of togetherness within an industrial Northern landscape (classical/hymnal form).

This book features images taken from recently developed family super8, taken in and around Sunderland - 1960's onwards.

Unveröffentlichter 1980er Psychedelic-Funk-Rock aus Boston, inspiriert von Funkadelic, Sly Stone und James Brown. Hinter Black Axess steht Gitarrist/Sänger/Songwriter Sherman Williams, der mit der Band Total Eclipse die US-Ostküste tourte und später Black Axess gründete, um sein virtuoses Gitarrenspiel auszuleben. Aus den ersten Sessions wurde 1987 die 7"-Single Tonite" veröffentlicht, das Album "The Golden Seal" wanderte aber in die Archive und geriet in Vergessenheit - bis es heute, knapp 40 Jahre später, dank der Arbeit des schottischen Kultlabels Athens Of The North endlich das Licht der Welt erblickt.

MidnightRoba is the solo project of vocalist, songwriter and producer Roba El-Essawy. The voice of Attica Blues (Mo Wax 1997, Sony 2000), Raise A Symphony is MidnightRoba's second solo album. Her first album, Golden Seams, very much rooted in jazz, received support, airplay and features from DJs such as Gilles Peterson (BBC Radio 6), Tony Minvielle and China Moses (Jazz FM), Robert Elms (BBC London Live) and Kevin Le Gendre on J to Z (BBC Radio 3). Single releases from this second album have been played by Gilles Peterson (WorldWideFM & BBC Radio 6), Kate Hutchinson (Soho Radio), Marshmello (NTS), Rob Luis (Tru Thoughts), Kev Beadle, Patrick Steele, DJ Amazon, and more.

'Raise A Symphony' is music of our time. A 15-track electronic offering, it comments on topics ranging from colonialism to complicity of silence; from compromised politicians to the power of protest and gratitude to those on the frontlines of change; from displacement and sea migration to the desire to protect our loved ones and the need for kindness; to have faith in the future and the importance of searching for joy in the meantime. The self-produced album 'Raise A Symphony' sees contributions from Saul Williams, Deschanel Gordon, Michael King and Tony Kofi, amongst others. The album title takes it's name from Martin Luther King's 'I Have A Dream' speech where King calls for the nation to rise to gather together and form a 'beautiful symphony of brotherhood'.

"..in Raise A Symphony, Midnight Roba has transmuted talent into something more powerful, where bridges built from her exquisite, unique harmonies, soaring songs and percussive productions allow competing emotions to co-exist and feed into each other. This album itself is a form of community; voices in unison, reaching outwards and offering restoration and upliftment throughout this remarkable work of love and fury." Emma Warren



a 01: Joy (Reprise) [feat. Deschanel Gordon]

2025 Repress

The breakthrough dance collective of the year bar none! Having made a name for themselves creating the evilest drum&bass music the world has ever seen, in recent months Noisia have been seen DJ-ing at house clubs, releasing singles with prominent house labels and most recently remixing for the likes of Robbie Williams! However, it wasn't long before they decided to go back to the dark side and join forces with good friend Mayhem (USA) to come with something more disgusting than ever, oh and they got KRS-One to provide the vocal!

A truly breathtaking intro bursting with evil foreboding sets the scene, before Noisia and Mayhem unleash the darkness with their signature drum programming alongside futuristic never heard before beats and breaks. Be sure to wait for the hip-hopesque interlude that features the immense vocal talents of none other than KRS-One. If you're not nodding your head by that point, you best check your neck isn't broken!

Comes in standard full colour Vision Recordings repress sleeve.

Mister Bear Records follows up Vick Lavender & Justin Dillard's acclaimed BEYOND LP with a heavyweight double-vinyl remix package. Legends and innovators reimagine the originals for the floor: Jimpster brings deep rolling warmth on Time and Time Again, Sean McCabe adds soulful polish to Experimental, and Kai Alcé injects Detroit-rooted swing into The Midnight Hour. Lavender himself drops a boogie-infused mix of Sunset BLVD, while Coflo, Shaka, and Eric D. Clark delivers unique, floor-ready takes on Grace and Get Here. From deep to soulful, boogie to jazz-inflected grooves, BEYOND - The Remixes extends the album's life with a diverse and powerful set of reworks.

The Lower Angel Band are a British folk-rock band formed in Warrington, Cheshire in 2025.

The band blend folk rock and pop, weaving in traditional instruments and warm keyboard textures beneath a rich, blues-inflected female vocal from front-woman, Vicky Williams. Their style is marked by memorable melodies and lyrics that explore everyday life and spiritual growth through stories and reflections. Since forming earlier this year the band have been drawing crowds across Warrington and the surrounding area. Notable performances include 'The Narrowboat Sessions' and Newton Festival 2025. The Lower Angel Band also have support from Radio Warrington - having starred on their Country & Folk Show in October.

'All In' as a whole, is inspired by nature, endurance and reflection. Each song derives from personal experiences and discoveries - following both the physical and spiritual journeys taken along the way. This album celebrates the human experience of both the highs and the lows of life, 'All In' together.

"Sunshine and Balance Beams", das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem sie klangliche Zwischenräume heraufbeschwören. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus Laut-Leise-Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe engagierte eine Streichergruppe (Geigen, Bratsche, Cello), die glühende, durchkomponierte Arrangements spielten, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was "Sunshine and Balance Beams" einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reisten nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit ihrer langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. "Sunshine and Balance Beams" ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Wailin' Rhythm 'n' Blues ravers THE BREADMAKERS from Melbourne, Australia, first formed back in 1989, delivering an explosive mixture of Garage Rock Revival and rockin' Rhythm 'n' Blues

Featuring members of SHUTDOWN 66, THE BO-WEEVILS, and THE PURITANS, these guys have long achieved cult status in the Garage Punk scene. Following their selftitled LP released on SOUNDFLAT RECORDS in 2020, we couldn't get enough of their wild sound. Thankfully, our prayers have been answered with a brand-new hit record from the fantastic BREADMAKERS!

The album includes two smashing cover versions: Bo Diddley's classic "She's Fine, She's Mine" and Andre Williams' "Mojo Hannah" , alongside some fabulous BREADMAKERS originals. Whether it's the catchy, wild tunes like "Marisa In Your Ear", "Existential Homesick Blues" and "Mojo Hanna", or the cool, bluesy vibes of their take on Bo Diddley's "She's Fine, She's Mine" and the moody "Stuck In The Past", these guys prove they have rock 'n' roll coursing through their veins.

"Lonesome Sundown" is yet another fantastic release from Australian Garage Punk legends THE BREADMAKERS!

The perfect soundtrack for a summer roadtrip in an old car across Death Valley.

“Calexico's musical textures are woven out of a dazzling array of instruments and styles, including mariachi trumpets, countrified pedal steel, Latin jazz percussion, and carnival organ, just to name a few. The songs move at siesta speed, casually looping and loping along, never getting overheated. Bandmates Joey Burns and John Convertino have their hands in so many musical pies--including projects with OP8, Giant Sand, Victoria Williams, Giant Sand, and Richard Buckner--one wonders how they find the time to create the sun-soaked music of Calexico. But thank God they have.” --Tod Nelson