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Amy Winehouse’s Live at Glastonbury 2007 will be available on vinyl for the first time from June 3. It captures her performance on the Pyramid Stage at that year’s festival, 15 years ago this summer.

Winehouse’s show, her second at Glastonbury, will be released in a 2LP black vinyl set. They bring back to the fore one of the most memorable highlights of her all-too-short career, capturing not only her unique artistry and song craft, but the singer and writer’s trademark, between-songs banter and the sheer love for her emanating from the festival crowd. Highlights include “Rehab,” “You Know I’m No Good,” “Love Is A Losing Game,” “Valerie,” and “Tears Dry On Their Own,” as well as her cover of Toots and the Maytals’ “Monkey Man.”

Amy played a second set later the same day on the Jazz World Stage, and returned to the Pyramid Stage the following year, firmly establishing herself as part of the world-famous festival’s remarkable history. The artwork for the forthcoming release includes recollection of the performance by Glastonbury Festival’s co-organizer Emily Eavis. “Amy Winehouse was a Glastonbury-goer through and through,” she says. “She either came and played or, when she wasn’t working, came and camped. She played in the blistering heat and the heavy rain, and there were so many magical moments to her performances.”

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

restock

We are proud to present the stellar debut and collab between the renowned Peruvian duo Dengue Dengue Dengue and Argentinian Prisma. ‘Pliegues' creates a hypnotic journey and infectious cadences that invites you to close your eyes while your hips move to the sound of colliding polyrhythms and powerful FM synth lines.

But there is also room for the oneiric realm on this EP, with the track 'Grietas' this new trio opens a portal to steep and melodramatic terrains. Meanwhile the remix of ‘Brechas’ from our friend empanadas aka DJ Python unleashes his sincere trademark of atmospheric and sentimental dembow. Finally, el paisa Verraco makes his label debut reshaping the lead track with a bombastic, deconstructed, bipolar summer banger full of edgy sound design.

Available on Double Vinyl LP, rammed with super funk smashers from the Queens of Funk

Between the late 70s and the early 80s, pop music was in a transitional phase. After a return to the roots of punk, rock was morphing into new wave, while disco was rapidly declining and the electronic revolution, already on the rise, was ushering in the transition from analog to digital. This period also saw the emergence and relatively brief flowering of a commercially dominant style that mixed soul influences (especially Stevie Wonder and Ear th Wind & Fi re) , folk/pop songwriting and jazz sensibilities in equal measure, creating a hybrid easy on the ears but also emotionally and musically rich. It was the style represented by artists like Christopher Cross, Michael McDonald, Gino Vannelli and Kenny Loggins, who were all influenced by black music. They belonged to a larger trend that took place in all major music producing countries, including Italy where, like so many other things, the style was not merely imported or copied, but reshaped into a specifically local version based on the nation's tastes and cultural traditions. In Italy, a soulful and sophisticated approach to pop music was embraced not only by established names like Mina, Alan Sorrenti and Loredana Berté, but also, and perhaps most importantly, by an entire generation of writers, arrangers and musicians who had grown up listening to early fusion, to Steely Dan's refined recordings, and to Quincy Jones's productions. So, with this compilation we hope to give new exposure to artists and songs that, despite having moderate or little success when first released, must be regarded as among the creative peaks of Italian pop music. "Paisà Got Soul" features pop veterans Peppino Di Capri, Mario Lavezzi and Alberto Radius alongside atypical singer-songwriters (Enzo Carella, Enzo Cervo, Gino D'Eliso), Italo-disco heroes (Stefano Pulga), international hit composers (Beppe Cantarelli, who has co-written for Aretha Franklin and Mariah Carey), Brazilian-born naturalized Italians (Jim Porto) and complete unknowns (Franco Camassa, I Ricci, Massimo Stella).It brings together little gems that in most cases are no longer available on the market, or only available in their original and now very rare vinyl format. We believe they all deserve to be rediscovered today, partly because of the recently renewed interest in "yacht rock", as this music style has been retrospectively named, and partly because they provide further evidence that Italian artists rework international music styles in creative and original ways.

Compiled and conceived by David Nerattini partnered by Pierpaolo De Sanctis

Four killer tracks of high grade electronic soul from James Baker AKA REKAB. A fantastic EP showing both breadth of style and respect for the roots and traditions of the music from this artist.The first, Locked on Dodge, is a driving deep Detroit techno track with a hypnotic arpeggiated lead and filtered atmospherics to lose yourself inside. Don’t get too comfortable though, it’s capped with a surprise electro switch in the breakdown to keep the floor on their toes! The second track, We Need to Care, delivers a cool clear synth sound design over Chicago influenced house tempo beats and lush pads. Simultaneously groovy and comforting, this is a track for those special moments. Jacking with your eyes closed and a big grin on your face.
Third we have a clear tribute to Drexciya with In Search of the Deep Sea Dweller. Tough 808 beats and laser zaps punch through a bed of evocative strings whilst a filtered single note loop rises and falls like the tide. An abstract robotic voice presides over the track, adding atmosphere whilst giving it a sense of mysterious machine driven intelligence.
Lastly, Too Much Time gets its space boogie on. Electro funk beats jump round staccato synth chords and a simple but effective Moog-like bass line. Once the scene is set, a writhing 303 joins the proceedings accompanied soaring pads and beautiful melodic leads that make you feel like you’re being lifted into the cosmos.
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ReKab aka James Baker from the UK started Djing in the early 90’s. Later on he started playing around with music. Finally the ReKab sound was established in 2019 with his first release on Where We Met records. Other releases followed soon on Móatún, Withhold, Intellitronic Bubble, We’re Going Deep and Fourier Transform.
His music is very deep and full of emotions and influenced by his love for Detroit.

Maurice Lecoeur could be considered as France’s best kept secret composer. Although hardly known outside of « digging-nerds » circles, he produced an incredible number of themes for movies, TV programs and commercials. Inspired by his friend and mentor François de Roubaix, he managed to create his own print, juggling freely with genres, harmonies, tonalities and string arrangements.

This fine compilation gathers together the cream of his 70s-to-mid-80s work ; a journey overflowing with pop fantasies, crazy drum-breaks and beautiful orchestral themes.

Most of these magnetic tapes are totally unrealeased and could have burned in the terrible fire that devastated Lecoeur’s home studio in the early 90’s. For fans of Jean Claude Vannier, Michel Colombier, François De Roubaix and Janco Nilovic…

Next up on Lonewolf is Bohm!

This fresh collab will see the Dutch producer bringing two EPs “Leaving Earth Part.1 and 2” on EYA Records sister label this year.
Intricate rhythms,bleeps and bass, emotive melodies and acid lines.

The artist opens a portal to new dimensions, it’s a powerful journey into timeless music and deep space. 5,4,3,2,1.. ignition and take off. The dream is alive.

Acclaimed producers Alpha Tracks and Oprofessionell team up as Kineta once again to present their second EP in a new trilogy of releases titled ‘Proto’. Written during relentless production sessions spanning a week in a secluded Mediterranean coastal town, the pair gathered an expansive constellation of music that is now ready to surface. ‘Proto’ effortlessly captures the creative symbiosis shared between the two producers while undertaking a journey through the realms of modern psychedelic dance music.

(Emmanuel Top, Tom Hades, Kony Donales + original remastered) Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic.

Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic. Back in the mid-nineties, Frank Struyf was churning out top club hits on Dance Opera, Circus, Frank’s own Zolex Records and our very own XTC and Bonzai Records imprints. Despite his busy DJ schedule Frank still found the time to produce his own sounds. Many years of producing quality records followed and he is still twiddling the knobs and spinning sets to this day.

The Original Mix graces the A1 slot, with its dark drums and rolling techno vibe hitting the spot. Moody and twisty, the groove becomes infectious and hypnotic thanks to a combination of blippy, bleepy sounds and relentless strings. The energy levels rise after the break, causing chaotic scenes on the floor, an absolute stomper. French DJ and producer Emmanuel Top takes up the A2 slot, delivering a fine remix with his instantly recognisable signature sound. Responsible for so many acid laden moments throughout his career, Emmanuel Top remains an inspiration to many. On the remix here, the tension mounts as 303 lines fade up alongside a hybrid drum construction and hypnotic FX. The acid effect takes hold, dominating the groove, the perfect set builder to whip up the crowd. Over on the flip, Belgian artist Tom Hades offers up his interpretation, turning the original into a slamming slice of techno for the modern dancefloor. Undoubtedly, Tom is responsible for some of the best techno joints released in recent years. Here, he employs his skills to great effect, using banging beats and minimalistic sounds that drive a solid, dark room techno vibe. This one is a must have, no doubt. To complete the vinyl, we have French artist Kony Donales on remix duties. Kony is the owner of Cayden Records which has churned out top techno tracks since 2011. He is known for his minimal style and he definitely knows how to work a track. The remix here brings the essence of Time Modulator into the 21st century with a strong contemporary groove. Nice pounding kicks and crispy percussions set the rhythm loose as metallic hits join raucous percussions and FX. Top-notch stuff once again.

Little Bihlman ist ein mit dem Emmy Award ausgezeichneter Singer-Songwriter, der schon mit legendären Künstlern wie John Fogerty, Trey Anastasio (Phish), Dug Pinnick (King's X) und dem legendären Blueser Son Seals gearbeitet hat und mit seinem Solo Album einen zeitgemäßen und doch sofortigen 10-Song-Klassiker abliefert.

Little Bihlman ist ein mit dem Emmy Award ausgezeichneter Singer-Songwriter, der mit "The Legend Of Hipster Billings" ein Americana beeinflusstes Rockalbum vorlegt.
Die originellen Songs und Geschichten sind geschnitzt aus den Kämpfen und Triumphen des Lebens, inspiriert von Motorrädern, Sonnenschein, Kaffee, Staub, Whiskey, Regen, Tattoos, Narben, Benzin und Herzschmerz. "The Legend of Hipster Billings" lädt ein zu einer musikalischen Reise durch das Herzland Amerikas ein. Von Chicago, nach Nashville über den großen Mississippi in die Badlands von Dakota, hinauf in die majestätischen Berge von Utah und hinunter in die Lichter der Großstadt Las Vegas.
"The Legend of Hipster Billings" wurde aufgenommen und produziert von Miles Fulwider (Wynton Marsalis, Willie Nelson, Norah Jones und Chick Corea) ud Andrew Glasmacher. Little selbst blickt auf seine eigene persönlichen Reise sowie auf die Zusammenarbeit mit so herrausragdenden Künstlern wie John Fogerty, Trey Anastasio (Phish), Dug Pinnick (King's X) und dem legendären Bluesman Son Seals.
Little gibt dem Americana-Rock eine neue, zeitgemäße Note, indem er tiefgründige Texte, dreckige Gitarrenriffs, Gospel-Harmonien und mitreißende Grooves zum Einsatz bringt, welche diesem Album eine besondere Kraft verleiht.
Bihlman's Songs verkörpern eine authentische Annäherung an die Essenz von Herz und Seele, welche uns alle zusammenhält.
Während seiner bisherigen Karriere war Little mit mehr als 50 Songs in TV/Filmen weltweit. Dabei so große Sender wie FOX, ABC, CBS und Netflix. Darunter die preisgekrönten Serien "Sons of Anarchy", "Days of Our Lives" und kürzlich "Big Sky".
Little Bihlman hat sich einen Weg über den amerikanischen Rock-Highway gebahnt und sich als vielseitiger Musiker und Singer-Songwriter etabliert. Als Tournee-Veteran hat Little mit vielen der großen Rock- und Blues-Legenden an weltberühmten Orten gespielt, darunter das Weiße Haus mit dem legendären Bluesman Son Seals. Im Laufe der Jahre hat Little mit Grammy-prämierten Produzenten wie Jim Gaines (Journey, Stevie Ray Vaughan, Huey Lewis ), Roy Thomas Baker (Queen, The Cars) und Bruce Robb (Cherokee Studios) gearbeitet, um nur einige zu nennen.
Die Songs auf diesem Album tragen Geschichten in sich, welche sich beim Hören auf mysteriöse und wunderbare Art entfalten.

Tidal Waves Music now proudly presents: the official reissue of this fantastic album, back available on vinyl for the first time since 1987. Available as a deluxe 180g 2XLP set, with TWO bonus tracks from the same session that were not featured on the original vinyl release. Pharoah `Farrell' Sanders (born 1940) is a leading figure in the world of jazz and one of the last living legends with connections to players like Sun Ra and John Coltrane. His tenor saxophone playing has earned him royal status amongst free jazz players, critics and collectors. On "Africa" from 1987 Sanders plays with an all-star line-up consisting of Idris Muhammad, John Hicks and Curtis Lundy. Muhammad brings his trademark tight sense of timekeeping, but with a looseness that we love - and Lundy's warm soulful bass does more than enough to give the set a sound bottom- all this while Hick's free lyrical piano works nicely with Sander's spiritual horn. The brilliant `Africa sessions' features the quartet at their best...soulful but also searching for a strong groove at the same time. The music here is less ornamented than on most of Sanders' studio recordings, where sextets, septets or larger lineups have been the norm, but this brilliant effort here remains every bit as compelling. Pharoah and his crew play with the utmost sensitivity and give a demonstration that shows us the full extent of their skills.

Repress, note new price. Black vinyl issue of the long sold out RSD compilation. Housed in heavy duty slipcase box. FOR FANS OF… Daptone Records, Big Crown Records, 45s, Soul, Funk, R&B. This is the follow up to our first volume of Soul Slabs, which is a collection of tracks from our 7” release series. For many of them, it's the first time they'll be appearing on an LP. Soul Slabs Vol. 2 is a collection of A-sides from the 7” catalog of Loveland Ohio’s Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, Kelly Finnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!

‘Mehldau can truly translate his thoughts and feelings into complex and lasting music. He is one of those people whose brain and fingers and musical ability is all one beautiful entity.’ – Jamie Cullum

Nonesuch Records releases Brad Mehldau’s Jacob’s Ladder on 2 x 140g black vinyl on June 17th . The album features new music that reflects on scripture and the search for God through music inspired by the prog rock Mehldau loved as a young adolescent, which was his gateway to the fusion that eventually led to his discovery of jazz. Featured musicians on the album include Mehldau’s label mates Chris Thile and Cécile McLorin Salvant, as well as Mark Guiliana, Becca Stevens, Joel Frahm, and others. The album’s first single, ‘maybe as his skies are wide’, builds off an interpolation of one portion of Rush’s classic ‘Tom Sawyer’.

Mehldau explains, “We are born close to God, and as we mature, we invariably move further and further away from Him on account of our ego. Jacob’s Ladder begins at that place closer to God with the voice of child, and then moves into the world of action. God is always there, but in our discovery and conquest, and all the joys and sorrows they bring, we may lose sight of him. He sets a ladder before us though, like in Jacob’s dream, and we climb towards him, to find reconciliation with ourselves, to stitch up all those worldly wounds and finally heal. The record ends with my vision of heaven – once again as a child, His child, in eternal grace, in ecstasy.

“The musical conduit on the record is prog,” Mehldau continues. “Prog – progressive rock – was the music of my childhood, before I discovered jazz. It matched the fantasy and science fiction books I read from C.S. Lewis, Madeleine L’Engle and others at that time, aged ten through twelve. It was my gateway to the fusion of Miles Davis, Weather Report, Mahavishnu Orchestra and other groups, which in turn was the gateway to more jazz. Jazz shared with prog a broader expressive scope and larger-scale ambitions than the rock music I had known already.

“The prog from Rush, Gentle Giant, and Emerson, Lake and Palmer here only hints at the genre’s conceptual, compositional and emotional range. These bands and others have continued to influence newer groups that bring prog impulses into the arena of hard rock and screaming math metal, like Periphery, whose music is included here, and also inspired the screaming vocals on ‘Herr und Knecht.’ I tried to avoid a direct tribute approach to all the songs, and opted in some cases for excerpts, or reworking of themes.”

Although Brad Mehldau is best known as a jazz composer and improviser, he has made several albums that fall outside of the mainstream jazz genre, including his 2001 Largo, produced by Jon Brion. Wide-ranging in texture and big in scale, it features woodwind or brass ensembles are on several tracks, as well as a heavy emphasis on powerful drums. In 2010, Nonesuch released his second collaboration with Brion, Highway Rider, which includes performances by Mehldau’s trio – drummer Jeff Ballard and bassist Larry Grenadier – as well as drummer Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. Mehldau also orchestrated and arranged the album’s fifteen pieces for the ensemble.

Mehldau’s 2014 collaboration with Mark Guiliana, Mehliana: Taming the Dragon featured Mehldau on Fender Rhodes and synthesizers and Guiliana on drums and effects, playing twelve original tunes – six by the duo and six by Mehldau. His 2019 album Finding Gabriel featured performances by him on piano, synthesizers, percussion, and Fender Rhodes, as well as vocals. Guest musicians included Ambrose Akinmusire, Sara Caswell, Kurt Elling, Joel Frahm, Mark Guiliana, Gabriel Kahane, and Becca Stevens, among others.

Indie-pop singer-songwriter, composer and producer Australia’s Ben Lee releases his 14th solo studio album “I’m Fun!”. The new album features guests Zooey Deschanel, Christian Lee Hutson, Money Mark, Megan Washington, Georgia Maq, Eric D Johnson.

On the album, Ben Lee says “This album, this moment in my career, is all about balancing some hard-earned wisdom from a 30-year long career with the vigor and energy of youth. That’s why it was as important to me to collab with artists like Jon Brion and Money Mark who I’ve both known for over 2 decades, as much as people like Shamir and Georgia Maq who are young and lit up with creative adrenaline. I like being a generational bridge between freaky artists. They are my tribe!”
Even before the launch of his solo career, Ben attracted attention in his teens as a member of the Sydney band Noise Addict. Following the band’s demise in the mid-90s, he began issuing a string of acclaimed solo albums while taking part in several side projects, including The Bens (Ben Folds, Ben Kweller, Ben Lee).

In his 30-year music career, Ben Lee has been gloriously prolific and unpredictable. The 4x ARIA award winning artist boasts an enviable catalogue including ‘Grandpa Would’ 1995, ‘Something To Remember Me By’ [1997], ‘Breathing Tornados’[1998], 2x ARIA Platinum album ‘Awake In New Sleep’[2005], ‘Ripe’ [2007], ‘The Rebirth of Venus’[2009], ‘Deeper Into Dream’ [2011] which have collectively spawned a multitude of chart hits, including “Cigarettes Will Kill You”, “Gamble Everything For Love”, “We're All in This Together” and “Catch My Disease”

The (seventh) new Half-handed Cloud album, ‘Flutterama’, is
a record of 18 jubilant indie-pop songs by John Ringhofer
that investigate spiritual incompetence with lively
arrangements and radiant melodies that skilfully dissolve into
deterioration using herky-jerky tape manipulation, analogue
wow-and-flutter, and an animated orchestra of homerecorded sound effects.
 Ringhofer’s work on ‘Flutterama’ was inspired by Frances
Mary Hunter Gordon’s adolescent liturgies (recorded at
Abbey Road during The Beatles era), turbid sights and
sounds in Guy Maddin films, audaciously bold forms in Sister
Corita Kent’s devotional printmaking, the exquisite brittleness
of Elizabeth Cotten’s voice, Alberto Burri’s stitched wound
burlap assemblages, Alvar Aalto church design, Andrea
Büttner’s poverty-informed artwork, Lou Barlow/Dinosaur Jr’s
lo-fi ‘Poledo’ sound collage (which namechecks Jesus), Julie
Canlis book ‘A Theology of the Ordinary’, Wallace Berman’s
visual collage, and The Raincoats’ magnificently shaky DIY
aesthetic.
 The album’s tape-fiddled tunes - recorded on the very same
16-track recorder last serviced by a sound technician who
also worked with The Beach Boys in their home studio -
employ surprisingly little synthesizer (“it felt like cheating,”
says Ringhofer) - he preferred to craft most of the album’s
effects the long way, frequently going behind the back of rock
instrumentation by hand-feeding ½” magnetic reel recordings
of chord organs, deflating balloons, some guitars, piano
(occasionally tracked with a baby on his lap), brass,
tablecloth swipes, and a quickly-cranked half-speed music
box. He was assisted by long-time Half-handed Cloud
contributor Brandon Buckner on drums, and single song
backing vocals from Anacortes, WA songsmith John Van
Deusen.
 LP pressed on Opaque Brown vinyl

cool forward technotools

now back in !

FEAN II is the following of the first opus released on Moving Furniture Records in 2018, from some materials of the improvisatory collective FEAN based around Jan Kleefstra (voice, poems), Romke Kleefstra (guitar, bass and effects), Mariska Baars (vocals) and Rutger Zuydervelt (electronics) from Netherlands, joined by the Belgian musicians Annelies Monseré (church organ, keyboard), Sylvain Chauveau (tuned percussion, radio) and Joachim Badenhorst (acoustic and amplified clarinet, bass clarinet, saxophone). Like The Alvaret Ensemble, this project is the result of some improvisations in a Church. But at not the same place.

The FEAN project gets its inspiration from the ecological decay of peatland in the Dutch province Friesland and in other parts of Europe. Agriculture and peat extraction are threatening the landscape severely and with long term consequences. This forms the underlying thought for the improvised recording sessions, which were overseen by Jan Switters. Although the Piiptsjilling members are obviously used to perform and record together, adding the three Belgian guests (who didn’t play together before) added an extra dimension to the group’s dynamics, resulting in a concentrated yet playful series of improvisations, that were later mixed and edited for the project.

For laaps, that was an obvious choice to continue the exquisite corpse project with FEAN and a part of the same members than the first release, just before to move to the Spring season and some news bridges, colors and sounds imprints to come.

Enough Is Enough - auf deutsch: Genug ist genug! Clara Louise verarbeitet in ihrem neuen Album alte Erinnerungen und Glaubenssätze, die sie umprogrammieren möchte. In der Bridge der gleichnamigen Single singt sie „I am enough“ und diese Message zieht sich durch das ganze Album. Songs, die Mut machen, für sich selbst einzustehen und dabei trotzdem zart und zerbrechlich wirken. Musikalisch betritt Louise durchaus neue Pfade, denn insgesamt ist der Sound des Langspielers wuchtig und kraftvoll und vermittelt das Gefühl von „Aufbruch“, so auch ihr Song „Goodbye Little Old Town“, in dem sie Abschied von ihrer alten Heimat nimmt, die sie mit 16 Jahren zurückgelassen hat.

Die 29-Jährige ist eine erfolgreiche Tausendsasserin. Im letzten Jahr schrieb Clara Louise den Song „Haven“ für die Sängerin Cassandra Steen, mit der sie bereits auf Tour war, und den WWF. Kurz vor Beginn der Pandemie war Louise mit dem US-Singer-Songwriter Joshua Radin auf der Bühne zu sehen. So „ganz nebenbei“ ist Clara Louise auch noch Mitgründerin und Designerin einer nachhaltigen Schuhmarke in Nordamerika und Ideengeberin für eine internationale vegane Molkerei, von der Bryan Adams Gründungsmitglied ist. Außerdem engagiert sie sich gemeinsam mit der „Stiftung Deutsche Depressionshilfe“ für die Aufklärung des Krankheitsbilds „Depressionen“. Sie macht sich für ein Umdenken in der Modeindustrie, fairer Löhne und einem besseren Umgang mit Ressourcen stark.

Clara Louise ist wahrhaftig ein Synonym für tiefgründige Lyrik, für Veränderung, Durchhaltevermögen und Wachstum. Sie gehört heute zu den beliebtesten und erfolgreichsten Dichterinnen der aktuellen Zeit (über 50.000 verkaufte Gedichtbände im Eigenverlag), gibt Menschen auch in schweren Zeiten Mut zur Veränderung, zum Aufbruch und Fortschritt, zur Zuversicht und Hoffnung. Sie möchte als Beispiel vorangehen, was ein Mensch mit dem Fokus auf die einem wichtigen Dinge im Leben, einer unbändigen Leidenschaft und notwendigen Disziplin erreichen kann.

Nachdem sie mit seinem unglaublichen Talent aufgewachsen sind, fanden Joe und Josh, dass es an der Zeit war, dass die Welt dieses Juwel aus Bay City, Michigan, entdeckt. Das neue Album enthält 11 Originaltitel (plus 1 Cover) und zeigt Larrys kraftvollen, gefühlvollen Gesang, sein fulminantes Gitarrenspiel und sein erstaunliches Songwriting. Die Blues-Rock-Stars Joe Bonamassa, Warren Haynes und Joanna Connor steuern als Gäste ihre feurigen Gitarrensoli bei.

Johannes Kolter is Kolter, an artist formerly known as DJOKO, and now a hotly tipped breaks and garage head who has already got plenty of attention. Here though he makes a grand and widescreen statement with the first release on the all-new Pilot label. It is a stylish and adventurous record with plenty of killer cuts from the downbeat hip hop opener to the deep house delights of 'Journey' via the elastic and energetic future house kicks of 'Roboflow.' Showcasing both a knack for well craft synths and expert drum programming precisions, this record plays out like a mini DJ set with all the twists and turns you need to keep you on your toes and fully engaged.

Unique fusion of the Indian and Egyptian music cultures devised by Baligh Hamdi, the most prominent of all modern composers in the Arab-speaking world. Hamdi, who penned dozens of hit compositions for Umm Kulthum, Abdel Halim Hafez, Warda and Sabah amongst others, also shaped the future of Arabic music in a way that's difficult to overestimate.


Directed by Hamdi, the renowned Indian sitar player Magid Khan joins the Egyptian musicians of Abdel Halim Hafez's orchestra in re-reading some of Hamdi's compositions from a new perspective – here sitar and tabla dance together with arghoul, ney and other Arabic instruments.



An east-meets-east masterpiece in which Hamdi once again pushed the boundaries of Arabic music in his tireless quest for a broader, more global reach.

Following the sublime smash debut "X17", LA-based label Elbow Grease head conductor Dave Aju continues on his righteous piece-by-piece journey toward a multi-genre multiverse, where deep musical roots come together in kaleidoscopic expression, and unfakeable funk reigns supreme.

"Spacio Tempo" picks up where we last left off, though with a notable drop in bpm as the title implies, with a rolling 4/4 textural tapestry that combines pulsating layers of soulful synth work, effervescent live percussion, and heavenly strings into a dense yet open-as-the-night-sky extended gem yet again. Just as the machine patterns of near-equator rhythms bubble over and begin to lock into a hypnotic groove, a bold left turn into a dank latin jazz noir vibraphone solo and SH-101 duet tango ensues, before landing us safely back at home base - right on time, at its own spacial pace.

As per the Elbow Grease release recipe so far, the B1 cut offers DJs a more driving flex, this time in the form of the "Acido Tempo Mix": a raw 303-driven take on the original which will undoubtedly stomp its way fiercely thru many bass bins in sweaty basements and warehouses worldwide. Finally the B2 blessing "Domingo Dub" closes things out, removing all but the highest vibes as an ambient drifting and uplifting take on the main theme, where the faintest of vocal tones, space echoes, and light percussive touches leave us elated in a West Coast, with subtle splashes from the D, sunset dream. Another solid single turned three-tracker sure-shot from EG.

Windwaker examine the aftershocks of love and the changes made in its wake over a soundtrack tilt-a-whirling from moments of insane heaviness to heavenly release. Bubbling up out of Wagga Wagga, New South Wales, the Australian quartet—Will King vocals, Jesse Crofts guitar, Indey Salvestro [bass], and Chris Lalic [drums, programming]—first landed in 2017. They built a growing fan base with independent EPs such as Fade [2017] and Empire[2019]. The latter boasted “Colourless” and “My Empire,” which each cracked 850K Spotify streams. In between selling out headline tours, they joined Beartooth on the road, while I Prevail tapped them for an upcoming 2022 run across Australia with Motionless In White. Along the way, they inked a deal with Fearless Records and wrote, produced, and engineered their full-length debut Love Language by themselves over the course of 2021. After amassing millions of streams independently and building buzz around the world, the band deliver an unpredictable and undeniable exploration of love across twelve tracks. Campaign highlights include support from Upset, DSCVRD, Rock Sound, Kerrang! and more.

B-Side is one of the cornerstones of the german Instrumental-beats scene and has been here for a minute. His unique approach for cutting and programming drums made him well known and gave his music a very distinct touch. His last LP came out three years ago and since then he released a number of collaborations with other international producers, rappers and singers. But now it’s time to show the world his interpretation of modern Instrumental-beats. Of course is he a man of the classic retro jazzsound but his record „Inner Life“ is pushing boundaries to the next level. Rhythmical Trap patterns clash with head nodding Boom-Bap vibes. B-Side really took his time. Three years of constant work on the right sound for this album did certainly pay off. This Record takes you on a journey that is not your average sleepy sound. It is hypnotizing and straight up futuristic, both sonically- and productionwise. It just sounds grown up, but in a good way.

He gathered a bunch of his friends for some partial collaborations. Devaloop, TESK, OG Nuage, ØDYSSEE and Flitz&Suppe are really contributing to the whole picture of „Inner Life“.

While the world is busy chasing the right sound for playlists, B-Side made an album that will stand the test of time. Purely good music by an artist that is passionate about his art. He mixed and mastered every single track and also took care of the complete artwork himself with photos shot by Flitz&Suppe. INNER LIFE is released on The Breed's WE RUN THIS Records.

For our next Time Is Now release, join us as we connect the dots between the Bristol - Leeds musical axis.

"Peaky Time Vol.1" sees us collaborate with the finest independent all-vinyl label the city has to offer, courtesy of the head honcho himself. Having so far received support from the likes of Moxie, Hodge, and Tom Ravenscroft, Tom Meyer has been making some serious waves as Peaky Beats - a name now closely-associated with his illustrious live sets which combine
breaks, dubstep and UKG.

Kicking off proceedings is sunshine banger "Road Runner" which is later flipped by key member of the TIN London faction, Yosh, who puts his inimitable spin on the classic-sounding UKG. With syrup-smooth vocal licks and staccato piano stabs, "Cats From The Back" maintains the theme, sure to be heard at festival stages across the country this summer. Finally on "XL", Peaky brings
the old school ruffage with clattering breaks and a breakdown that leads to a switch-up begging to be reloaded.

Tropical Horses has been a figure of the Parisian underground for a little decade. After almost mistakenly seducing young talent runners who had only understood his music at its brightest, the boy released the very dark "Mirador" on Anywave in 2016, a hybrid between malevolent pop, walls of sound and assumed madness.

Since then, this great loner has never stopped rising to the hard, alone with his loopers, in intense and rough concerts while finely mixing extra-western grooves and melodies to his art. From these 5 years of maturation and opening results Fever, haunted, joyful and overpowering record.

Known for her lengthy tenure touring and busking with beloved New
Orleans jazz band Tuba Skinny, prolific songwriter and singer Erika Lewis has been churning out American originals all her own for the past several years

From classic country to cosmic Americana to dreamy indie folk, Lewis continues to dip her toes more deeply into an ever- expanding pool of roots music styles. Her new record 'A Walk Around the Sun' is a testament to Lewis' songwriting prowess and exceptional vocal ability. Produced by John James Tourville (The Deslondes), 'A Walk Around the Sun' features 11 all-original songs exploring the gray areas between love and loss, joy and grief, longing and contentment. Though her songwriting shines brightly, it's never at the cost of melody or arrangement; complete with sweeping strings, pedal steel, and even the occasional fuzz of a psych-rock guitar solo, Lewis' voice soars with emotion and texture throughout. Beautifully balanced, adroitly performed, and masterfully produced, 'A Walk Around the Sun' brings Lewis' solo work out from the wings to center stage,
beneath a spotlight nearly impossible to ignore.

Yellow Vinyl

A collective of musicians led by Barcelona-based producer Miguel Ferre Falcon, Kokoro Disco San first appeared on the RNT radar with their 2019 Isla Fantasia release on Rocafort Records.

KDS now brings their uncanny ability to capture the mood and instrumentation of classic disco and soul with the uplifting summer anthem 'Sunshine' and the Candido-esque sonic journey 'Jungle Deep.' Rounding out the EP are two remixes of the title track by label co-head JKriv, who delivers an extended acidic exploration with his Beach Burn Mix, and a bumped up yet loving treatment of the original song with his SPF76 Mix.

Includes 2 bonus tracks.
Originally released in 1983 this hugely rewarding record acted as a round up of the group’s career to date and was of immeasurable value to fans. It’s aged well, too.
Comprising of A and B sides from their Rough Trade released singles plus extracts from sessions for Radio 1, Capital Radio and EMI Records, this LP contains unique versions of such classic tracks as “The Jet Set Junta” and “He’s Frank (Slight Return)”.
Oddities, and jocular moments run through the album, including John Peel introducing “Fat Fun” and thinking aloud that those Monochrome boys might be having a pop at him. The fact that it includes a wish list of the band’s best songs to this point in their career is another reason to recommend it.
Previously they may have made a handful of slightly-off-target albums, but this 1983 compilation is a front-to-back joy, fast, restless and perfectly sequenced. It plays like a cohesive album.
Includes 2 bonus tracks from the February 1979 Peel Session ‘Love Goes Down The Drain’ & ‘Noise (Eine Kleine Symphonie)’.

In a two-decade career, Raymond Byron Magic Raposa has recorded six albums as Castanets, another as Raymond Byron and the White Freighter, and has worked with musicians ranging from Annie Clark (St. Vincent), Matthew Houck (Phosphorescent), and Sufjan Stevens to Liz Janes, Jana Hunter, Nathan Hubbard (Trummerflora, Cosmologic), and John McCauley (Deer Tick). Over the course of that time, his music has been called part of the New Weird America movement, freak-folk, psychedelic folk, and indie folk. Bond Wire Cur is as surreal and desolate and haunting as anything he's done. Collaborators on the album are many (Cory Gray, Erik Clampitt, Pony Domer, Jason Stinson, Lauren K. Newman, Kimba Kuzas, Ron Burns, Paula Barry, Coty Dolores Miranda, Josh Cole), yet the sound of the record is stripped-down and stark. It is a crucial chapter in his career and in ESP-Disk's Drive to Revive Weird Rock.

Das dritte Album der Ausnahmepianstin und Sounddesignerin Emilie Levienaise-Farrouch verkörpert einen Trauerprozess auf einzigerartig intim-persönliche Weise. Mit ihrem besonderen Sounddesign und gefühlvollen Tastenschlägen schuff sie in den letzten Jahren den Soundtrack für verschiedene Filme (Censor, De Slag Om De Schelde) und kann sich einreihen bei Komponisten wie Johann Johansson, Mica Levi und Hildur Gudnadottir.

Italo disco meets Balearic ethno-funk in the third installment of re-edits from DJ collective Siffleur. Side A is your leftfield, sensual 80s nostalgia, your introspective, post-multiverse ‘club tropicana’. Side B will take you on a dreamy night-journey through city streets where love is a pink neon light.

From deep in the heart of Moomin Valley, frozen in time for many
midwinters passed, comes a genuine treasure chest of never
heard Moomin melodies and instrumental comet songs composed
for the continued animated adventures of our Fuzzy-Felt freak folk
friends who disappeared from UK TV pastures in the mid-1980s.
From the top of the Hobgoblin’s Hat and the bottom of Snufkin’s
satchel, original Moomins composer Graeme Miller (‘The Carrier
Frequency’) kindly shares this patchwork selection of spellbinding
sound poems and percussive peons made using the very same
selection of ocarinas, kalimbas, miniature squeak boxes, Waspy
synths, cornflake box shakers and a seemingly endless array of
talent and lo-fi home studio trickery.

Regarded as one of the most enigmatic, beguiling and haunting
imported children’s programmes to ever grace UK TV screens,
‘The Moomins’ was one of the first-ever commissions by Anne
Wood (‘The Teletubbies’) who ingeniously replaced the original
Polish/Austrian/Finnish soundtrack with homemade music
experiments by unknown post-punk theatre students Graeme
Miller and Steve Shill (aka The Commies From Mars) who, after
the screening of two unforgettable series in 1983 and 1985, were
left in eager anticipation of rescoring further Moomin adventures
with new melodies, arrangements and sound designs, which then
lingered in the ether waiting until the Groke awoke and
Snorkmaiden sang once more.

With future felt adventures screened exclusively in Poland and
Germany for many years (often as feature films) these unheard
recordings are the only genuine musical sequel to the bizarre UK
version of ‘The Moomins’ and stand as important inclusions in
Graeme Miller’s own portfolio of theatrical theme music and sound
installations as part of The Impact Theatre Cooperative, including
collaborations with artists and writers such as Russell Hoban.

Witnessed in fragmented form during a short run of incredible rare
live screenings at The Barbican Theatre and various film festivals,
this record marks the first time this music has been heard in its
original full-length form, free from sound effects, dialogue and
whimpers of euphoric joy and nostalgia from those who have
continued to crave the company of our Moomintrolls and their
mysterious music over the last five decades.

The highly sought after “I’ll Make It Up” was previously released as B side to One Dollar Of Music, an instrumental also by Carl Dawkins on Duke DU-3 in 1968.

This heavy weight early Reggay beauty is a very special tune with its high pitch vocals, crashing drums, shuffling organ and syncopated rhythm,

all this with subtle psychedelic undertones, Jamaican way of course. This is a truly outstanding track, expensive and nearly impossible to find.

A release on 7inch vinyl was indeed much needed - a must!



On the B side, the brilliant “Hot And Sticky” was previously released on Rio R138 in 1967 as B side to The Rulers “Be Mine”

and was also produced by the Jamaican reggae producer, J.J. Johnson.

The aptly named “Hot And Sticky” is a heavy, raw, relentless Rocksteady track.

It is Rocksteady at its best and very representative of Carl’s production at that time. Great rack.

This rare track has never been repressed on 7” vinyl and is a perfect B side for this killer double sider.

The Boogie Times label is back with 4 cuts from a very elusive artist.

There has been much speculation over the years as to the identity behind the Disciples Of The Watch moniker. Sharp eared listeners have attributed the sound of the breakbeats to one artist, while others are as convinced their deductions from the sound of a bassline can attribute the production to someone else.

Perhaps it’s who they think? Maybe it’s not? Possibly it’s a collective of artists?

All we can say is that Disciples Of The Watch make great music!

Back in 1992 the Dance In Peace EP received an incredibly limited white label run and was only available from a handful of specialist record shops. The scarcity of this release means that it has now reached near mythical status and has seen it selling for as much as £200 on the second-hand vinyl market.

This EP is now getting the very long overdue full release that it deserves, with all tracks expertly remastered & cut to heavyweight black vinyl.

With very limited stock being pressed we’d urge anyone wanting to own the amazing musical journey by the elusive Disciples Of The Watch to get orders in as soon as it goes on sale!!

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Jessie Buckley and Bernard Butler have joined forces on For All Our Days That Tear The Heart, a collection of twelve mesmerising new songs. The meeting of an Academy Award-nominated actress and singer, and a Brit Award-winning producer and musician, feels like the tale of two distant stars coming together and forming their own constellation. For All Our Days That Tear The Heart is a remarkable work of windswept beauty and catharsis, and given that it seemed to come out of nowhere, it also feels like a gift. “More than anything, I wanted it to be joyous – properly joyous – because there is such joy in Jessie, there really is,” says Bernard. “In spite of the darkness and the intensity in these songs, I’m just flying when I listen back to them.”