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London quartet The Leaf Library return with their bold new album After The Rain, Strange Seeds. A luminous collection of pastoral indiepop, drawing inspiration from suburban isolation, unreliable memories and the surreality of the weather. Their most immediate and melodic work to date, the richly evocative songs brim with chiming guitars, buzzing organs and warm, dulcet strings, evoking Yo La Tengo’s more contemplative moments, The Clientele’s autumnal jangle pop and early Stereolab’s motorik melodicism. The sound of the album is defined by mixer John McEntire, whose work with Stereolab and Yo La Tengo (as well as a member of Tortoise/The Sea And Cake) have been major inspirations to the band.
The album explores themes of memory and place, albeit through an abstract haze – returning again and again to specific moments frozen in time: midsummer bright hot days in the Chilterns (“Sun In My Room”), meteorology and the strange movement of the weather (“Colour Chant”), red kites circling over suburban motorways (“Some Circling”), and the uncanny feeling of dusk and nighttime creatures on “The Reader’s Lamp” (titled by celebrated film director Peter Strickland). The lyrics are vivid yet elliptical, strung with abstract ideas and imagery, conjuring a gently unsettling, though never unwelcoming atmosphere. Not quite trusting your own recollection of things, while marvelling at the oddness of the natural world, the album’s title a good summation of the mix of strangeness and hope contained within.

As on past albums the band - founded by singer Kate Gibson and ex-Saloon guitarist Matt Ashton in the mid 2000s, and now completed by drummer Lewis Young and bassist Gareth Jones - have involved their extended musical family, including guitarist Mike Cranny (of fellow drone pop travellers Firestations) and keyboardist Irina Shtreis, both members of the Leaf Library live band. The album also sees the return of James Underwood’s Iskra Strings, a quartet that features on 4 tracks, with sumptuous arrangements by Daniel Fordham, as well as regular contributor Melinda Bronstein on vocals and Will Twynham (Dimorphodons) on harpsichord. They also welcomed Paddy Milner (on Hammond organ) and Scott McKeon (guitar) – both current members of Tom Jones’ band – for a startlingly delicate rolling crescendo to closing track “There Was Always A Golden Age”.
After The Rain, Strange Seeds is their 4th studio album. The result is The Leaf Library’s most accomplished and affecting work, John McEntire’s mix bringing a bold clarity to the band’s meticulous arrangements – closer to how they sound live than anything they’ve done before.

In 1955 Miles Davis played an all-star jam session at the Newport Jazz Festival with Thelonious Monk on piano, Gerry Mulligan on baritone sax and Zoot Sims on tenor sax. This performance immediately drew the attention of Columbia Records' George Avakian, who was so impressed that he immediately offered Davis a contract if he could form a regular band. The group he then assembled would go down in history as Davis' so-called "First Great Quintet", consisting of John Coltrane on tenor sax, Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and of course Miles himself on trumpet. 'Round Midnight is Miles Davis' first record for Columbia and also the first studio recording of the First Great Quintet. The recording sessions began on October 26 1955 but the album wasn't released until 1957 as Davis was still under contract at Prestige at the time. These respective sessions yielded Steamin', Workin', Cookin' and Relaxin'; albums that would go down in history as quintessential blueprints of late 1950s hard bop.

The record is made up of a collection of standards and one traditional song ("Dear Old Stockholm", from the 19th century). Notably, it features what may be considered the most well-known versions of Thelonious Monk's "'Round Midnight" and "Bye Bye Blackbird". That Avakian made a golden signing was sufficiently clear from the start, but no one could foresee that it would be this quintet on Columbia that would go on to change the course of modern jazz forever with Kind of Blue. 'Round Midnight is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl.

IARC108LP – black vinyl / IARC108LPI – indies exclusive grapefruit colour vinyl. All formats are extremely limited and orders may be subject to cutbacks.

IARC108LP – black vinyl / IARC108LPI – indies exclusive grapefruit colour vinyl. All formats are extremely limited and orders may be subject to cutbacks.

Der Grammy-nominierte Altsaxofonist Immanuel Wilkins veröffentlicht sein erstes Live-Album, aufgenommen in der legendären New Yorker Jazz-Institution Village Vanguard. Wilkins‘ Quartett, bestehend aus
Micah Thomas am Klavier, Ryoma Takenaga am Bass und Kweku Sumbry am Schlagzeug, entfaltet in dem
von Jazz-Geschichte durchdrungenen Raum seine volle musikalische Kraft und reiht sich ein die Liste der
Jazzgrößen, die dort wegweisende Live-Aufnahmen gemacht haben, darunter John Coltrane, Sonny Rollins,
Joe Henderson, Bill Evans und viele andere.
Vol. 1 erscheint als LP + CD, Vol. 2 (17.04.) und Vol. 3 (15.05.) erscheinen ausschließlich digital.

The ridiculously prolific Bay Area band Thee Oh Sees are back with another full-length long-player. Warm Slime is guaranteed to please fans of their whacked-out garage / psych / punk jams. Recorded by Sacramento sultan of sound Chris Woodhouse, Warm Slime carries on in the same tradition as the group's previous In The Red release, Help, showcasing their more electrified and rocking side, in comparison to other recent home-recorded releases. The centerpiece is undoubtedly the mind-bending title track, which clocks in at nearly 14 minutes and takes up the entirety of the album's first side. It's a psychedelic epic of "Inna Gadda Da Vida" proportions! John Dwyer's guitar playing is at its quadraspazzed best here, and the vocal interplay with Brigid Dawson gives it a B-52s-at-their-least-cheesy-crossed-with-the- Troggs vibe. The results are stunning. "Thee Oh Sees incorporate the oft-referenced Nuggets stuff in a way that feels reverential. With grinding guitars and bah-bah-bah vocals, but with the punk and new-wave elements also at play, they don't feel trite or plagiarized. This is like meat and potatoes prepared by a master chef-totally familiar but utterly delicious." -Pitchfork Recorded by Chris Woodhouse (Mayyors' guitarist and producer for The A-Frames, Hospitals, Coachwhips, Erase Errata, etc.) This is one of the best sonic blasts you will trash your speakers with this year....Raw, and real! Opening track is 13 minutes long, yes, we'll take it...

What's the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it's a nail in the coffin of what you thought it meant to make 21st-century rock 'n' roll? Yeah, that sounds about right. But it misses a more important point-how impossible Thee Oh Sees have been to pin down since Dwyer launched the project in the late '90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer still records songs on his own, Thee Oh Sees is now a five-piece featuring keyboardist / singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun and multi-instrumentalist / singer Lars Finberg.) That restlessness extends to everything from the towering, thirteen-minute title track of 2010's Warm Smile LP to the mercurial moods of 2008's The Master's Bedroom Is Worth Spending a Night In. Now, Thee Oh Sees chase the home-brewed symphonies of Castlemania with the scrappy, high-wire hooks of Carrion Crawler / The Dream. Originally envisioned as two EPs, it was cut live to tape in less than a week at Chris Woodhouse's Sacramento studio in June, reflecting the battering-ram bent of the band's live show better than any bootleg ever could. "As I'm sure most would agree," explains Dwyer, "Castlemania was more of a vocal tirade. This one's meant to pummel and throb." That it does, whether one blasts the slow, speaker-bruising build of "The Dream," the sunburnt organs and dovetailing guitars of "Crack in Your Eye" or the interstellar instrumental "Chem-Farmer," a perfect example of what happens when one takes a well-oiled machine-a gang of rabid road warriors, really-and adds a second, groove-locked drum set to the mix. To listen is to realize that Dwyer's music is as manic as the underground comic inclinations of his artwork; colorful and confusing in a way that's more than welcome. It's downright refreshing, like a slap in the face at 5:00 in the morning. Or, as Dwyer puts it, "You have to leave a mark somehow."

In 2026, 62 years after the first release, she releases the LP Tomorrow's Yesterday, and it cannot be ruled out that this may be her last physical album. All the songs are recorded in duo or trio format. The musical sounds are excitingly combined with her voice and Rob Luft on guitar, John Surman on saxophone/ bass clarinet on side A. Whilst on side B we hear Karin Krog with Erlend Slettevoll on piano/electric piano and Rob Waring on vibraphone.

“Tectonic” is a concise portrait of SIMON BERZ’s geological sound explorations across continents over the last 15 years: drums, electronics, and a set of electronically manipulated basalt stones from Iceland.

SIMON BERZ is a transdisciplinary drummer, sound artist, and music educator based in Switzerland and Berlin. Working at the intersection of improvised music, sound art, and performance, and deliberately crossing boundaries between disciplines, his aesthetics are shaped by a sustained engagement with natural materials, particularly stone, and their sonic transformation through electronic manipulation. Beyond his performance work, BERZ founded BADABUM as an art label and a music school.

For the last 30 years, BERZ has been performing in Japan, China, Russia, the USA, Cuba, Iceland, Turkey, and across Europe. He has collaborated with artists including BILL LASWELL,BABY SOMMER, DAMO SUZUKI (CAN), JAMES TURRELL, JIMI TENOR, JOHN SINGLAIR, JOJO MAYER (NERVE), KONDO TOSHINORI, KIDD JORDAN, LAUREN NEWTON, LEE “SCRATCH“ PERRY, MAURO PAWLOWSKI (dEUS), NILS PETTER MOLVÆR, NIKI GLASPIE, NORBERT MÖSLANG, PAUL LOWENS, PFADFINDEREI, ROB MAZUREK, SKÚLI SVERRISSON, and he was the live drummer for APPARAT. As BERZ understands artistic practice as energy emerging from nature and through dialogue with people, his recorded output is intentionally selective, with one highlight being “Beats versus Breath” with KONDO and LASWELL (2023). Alongside a regular drumkit and electronics, he has developed his own instruments such as the “Lithophon” in which resonating stones are turned into amplified sound through water drops, and “Tectonic”, a set of Icelandic basalt stones shaped through electronic manipulation. These self- built instruments form the material basis for his performances, installations, and sound recordings.

“Tectonic” is also the title of BERZ’s latest work: a summary of his geological sound explorations across continents. From Iceland to Indonesia and Bali, from New Orleans to China, in caves and at shores, BERZ carried his millions-of-years-old basalt stones as both instrument and collaborator. On Java, he met Baron, a builder of stone gamelan instruments. At the Pacitan Tabuhan Cave (Indonesia) he performed with MISBACH BILOK and WUKIR SURYADI (SENYAWA) who work with corals as instruments. BERZ brought these encounters and “field recordings” to the Stöðvarfjörður studio in Iceland, where he recorded with his “Tectonic” set-up, drums, and electronics. The music was later mixed in Berlin by DIRK DRESSELHAUS (SCHNEIDER TM). The resulting album moves from club-driven tracks to ambient passages, from gamelan-inspired textures to HipHop-like beat patterns. It resists easy categorization while staying direct and physical in its impact.

Strut Records presents a fresh look at Oblivion Express, the 1971 album that marked Brian Auger’s shift into a new musical frontier. After years spent shaping the sound of British jazz-soul with the Trinity, Auger stepped into the new decade with a leaner, electrified ensemble and a renewed sense of purpose. This record captures the moment that transformation took shape.

Oblivion Express introduced a sound that was distinctly Auger’s own. Rather than echoing the fusion emerging in the United States, Auger developed a language rooted in the UK’s jazz underground, culminating in a spaced out jazz- rock / prog-fusion album awash with larger than life drum fills and Auger’s virtuosic organ playing. Between bassist Barry Dean and drummer Robbie McIntosh the album moves effortlessly between tight, articulated phrases and broader, improvisational passages. The trio’s interplay forms the backbone of the album and sets the tone for the sound that would define the early years of the Express.

Album opener “Dragon Song” launches with a restless drive that immediately signals Auger’s new direction. Auger chose to record this version of John McLaughlin’s piece (his friend and former bandmate in 'The Niddy Griddys') after hearing McLaughlin’s album Devotion during its mix at New York’s Record Plant Studios. Auger was blown away, recalling, “Oh my god, this is amazing. I wanted to record that myself - and I did!”. Pieces like “Total Eclipse” demonstrate the Oblivion Express’ command of dynamic contrast, and title track “Oblivion Express” explores the cinematic and compositional prowess of the group through stripped back, building moments vs. explosive melodic breakdowns. Riff-heavy “The Sword” later became known through Madlib’s usage in 2014 tracks “Yeti Movie” and “Parodies”.

In retrospect, Oblivion Express stands as a jazz leaning, prog-rock masterpiece and foundational moment in Auger’s catalogue. It captures the starting point of a new sound that is more focused, more urgent, and fully committed to the possibilities of jazz-rock at the dawn of the seventies. The album remains a vivid document of a band discovering its identity and setting the stage for the further array of influential releases that would follow.

Represss!

Z Records continues its commitment to unearthing the obscure and
long forgotten tracks from the last 40 years through the ever-popular
Under The Influence series. Following on from Red Greg, Nick The
Record, Sean P, Faze Action, and last years Alena Arpels. It’s now the
turn of one of the scene’s most impressive collectors & DJs; Rahaan

Hailing from Chicago his love affair with muzik started in the late 70’s early 80’s, listening to muzik on the radio combined with his mom and dad playing their records every weekend. In the early 80’s on the South side of Chicago, he started hearing something a bit different, what they called ‘house muzik’. A combination of Disco, Jazz, Soul Funk, New Wave and Italo Disco. Here Rahaan digs deep into his impressive record collection that he has collected, built up and crafted over his many years of travelling, networking and DJin to showcase 22 of his finest and rarest cuts. Many of the tracks on the album would cost hundreds and that’s if you were even able to find the originals! As always with ZR compilations a lot of time and effort has been spent on creating these masters from the original vinyl, cleaning them up, removing all the clicks and pops resulting in the cleanest sounding copy possible.

Detroit powerhouse vocal trio Dames Brown make their long-awaited debut with ‘Take Me As I Am’, a bold, soulful celebration of the Motor City’s sound and a heartfelt tribute to their late mentor, Amp Fiddler.

Crafted at Amp’s legendary home studio, the album captures the essence of Detroit through rich instrumentation, gospel-infused harmonies, and unfiltered soul. Blending house, funk, techno, and 70s groove, Take Me As I Am embodies the city’s spirit; timeless, raw, and full of life.

Featuring collaborations with Detroit icons Andrés, Eddie Fowlkes, and Waajeed, standout tracks like ‘You’re The One For Me’, ‘Glory’, and ‘What Would You Do’ showcase the trio’s unmatched energy and vocal chemistry.

Across fourteen tracks, Athena Johnson, Teresa Marbury, and LaRae Starr channel the soul of Motown, the groove of Parliament Funkadelic, and the power of Aretha Franklin, uniting their influences into one authentic, uplifting sound.

With nearly a decade of releases on Defected and its sub-labels, including collaborations with Sophie Lloyd, The Vision, Floorplan, and Horse Meat Disco, Dames Brown continue to shine as one of Detroit’s most dynamic vocal collectives.

‘Take Me As I Am’ is more than an album… it’s a declaration of love, legacy, and Detroit soul.

long content, you may need to expand row to see all... Johnny Blue Skies & the Dark Clouds machen für ihr neues Album Mutiny After Midnight gemeinsame Sache mit High Top Mountain Records und Atlantic Outpost.


Das neue Album erscheint am 13. März 2026 ausschließlich auf Vinyl und CD. Nach seinem 2024er Debüt Passage Du Desir zeigt Johnny Blue Skies damit einmal mehr, dass er sich nicht in die üblichen Branchen-Schubladen stecken lässt. Er setzt weiterhin auf das, was ihn ausmacht: tiefgründiges Songwriting, ständige Neuerfindung und das blinde Verständnis einer Band, die als echte Einheit funktioniert.

Johnny Cash (1932–2003) was a legendary singer-songwriter whose deep voice and storytelling made him one of the most influential figures in American music. Blending country, rock, folk, and gospel, he created timeless songs like “I Walk the Line,” “Ring of Fire,” “Folsom Prison Blues.”, “I Got Stripes,” and “Oh Lonesome Me.” Known as The Man in Black, Cash’s music spoke to themes of love, faith, and redemption, leaving an enduring mark on generations of artists.

Limited Green LP is for Indies only. all LPs include a DL card. Island Family is the fifth album from Isle-of-Eigg dwelling electro-acoustic psych-pop wonder Pictish Trail, AKA Johnny Lynch. A strange, unpredictable, sardonic and yet deeply personal record inspired by all from Fever Ray to The Flaming Lips, Liars, Mercury Rev and Beck, Island Family is Pictish Trail's contrarian view of arcadia; a search for the euphoric in the bucolic, bound up in sometimes conflicting ideas and feelings around nature and environment, sincerity and artifice, escapism and belonging. It's an album about how no man can remain an island, however hard he might try. Released by Fire Records, with support from Johnny's own label Lost Map, and produced by long-term collaborator Rob Jones (The Voluntary Butler Scheme, The Gene Dudley Group), 'Island Family' opens with its title track, a song of death, ghosts and the ties that bind, fusing abrasive electronic beats with a tongue-in-cheek fireside folk refrain and the haunted ice cream van melody of a digitally reincarnated traditional Scottish jig. A purgative surrender to nature's whim driven by a clattering machine drumbeat rolled in a puddle of filthy dirty fuzz, 'Natural Successor' is five-and-a-half-minutes of cathartic churning bass. 'In The Land of The Dead' is an eight-bit glitch-core reflection on island party excesses spasming into existential dread and regret, suitably accompanied by a funereal mariachi band. It's followed by the epic 'It Came Back', the understated verses and arms-aloft falsetto chorus of which are accompanied by a tense, foreboding bass-driven electro hip hop instrumental with (spoiler) a brain-shattering industrial-metal meltdown. 'Melody Something' is the album's purest moment, a cautiously uplifting solar-powered-ballad about losing track of time in the cycle of the seasons, and the gap between memory and reality. Shapeshifting closer 'Remote Control' is a channel hopping cabin-fever-dream flipping from warped boyband ballad to deep-fried fuzz pop. "One of my favourite artists" Lauren Laverne, BBC 6 Music

A companion piece to the album, Right Now!, this collection contains additional recordings from those sessions, as well as remixes and reimaginings of songs from Right Now! All songs, except for “Reap What You Sow,” have never been released. The psychedelic improv supergroup featuring Dave Alvin and Victor Krummenacher (Camper Van Beethoven, Cracker, Monks of Doom, Eyelids), David Immerglück (Counting Crows, John Hiatt, Monks of Doom, Camper Van Beethoven), drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale), and singer/songwriter Jesse Sykes (Jesse Sykes & The Sweeter Hereafter) continues to defy expectations and genre on Spellbinder!

The “5” Royales were the most enduring and influential of all the 1950s proto-soul groups. In a very crowded market, their success was remarkable. The Royales were the first African American group to introduce gospel based vocal styles into the rhythm and blues format. This gave an intensity to their recordings and live performances that no other combo could get near, thanks to the passion and power that lead singer Johnny Tanner generated. Furthermore, the group possessed in Lowman Pauling a songwriter of genius and a guitarist, who invented an exciting style of playing that linked stinging solos with rhythmic accompaniment. The Harbingers Of Soul is a mouth-watering overview featuring the best of the King era and the most soulful sides from their stay at Home Of The Blues. 180gsm vinyl. Sleeve notes by John Ridley.

The Golden Age of southern soul lasted from about 1962 to 1975, when disco ripped the heart out of it. And although it may seem as though the blend of country, gospel and R & B that emerged from the great studios in Memphis and Muscle Shoals in that decade was entirely fresh and new, like any other genre classic, southern soul picked up musical cues and absorbed influences from a whole variety of sources: horn lines from Louisiana's swamp pop, lyrical themes from the blues, songs from country music, and of course so, so much from the black churches. Part of the 'History of Soul' series, this LP reveals the musical antecedents that gave southern soul its inspiration. The music here will tell you the real story - and it will knock your socks off too! Notes by John Ridley.

When Aretha Franklin passed away on August 16, 2018 we lost the Queen of Soul, acknowledged as the foremost female singer of her generation, someone who sold over 75 million records in her glittering career. The sadness that so many soul fans felt at that time was most acute knowing that we would never hear her beautiful voice on any new recordings. So it is with great pleasure that we present a live set from Aretha never before heard on a commercial CD. And it is with pride that we can say that the recordings, made in a TV studio in Cologne during her first European tour in 1968, are smack in the middle of soul’s Golden Age. The musical quality - the great artist at her peak – is so high that this issue can only enhance her reputation. This is prime Aretha Franklin – and soul music doesn’t get much better than this. Notes by John Ridley.

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we’ve uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack la- bels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre’s frayed edge. Get lost in ecstatic choir funk, pulpit rappin’, direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.