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Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

Following-on from her publicly and critically-acclaimed album "Bloom" in 2021, Rosie Frater-Taylor is back with her third album "Featherweight". It shows a much grittier side of the young musician, both musically and visually. The album relates her personal journey since her previous album "Bloom", from love to relationships, to navigating life as a young woman and affirming her strength through vulnerability. Written off the back of extensive international touring with her trio in 2022, "Featherweight" can be categorised as "modern indie jazz pop". Rosie"s creative, and highly musical guitar accompaniment, combined with heart-stoppingly fresh lyrics, echoes an important legacy of artists from PJ Harvey, through Joni Mitchell and Kate Bush, to the rockier roster - where John Mayor, Meshell Ndegeocello, St Vincent, and Madison Cunningham hold court... The album relates her personal journey since "Bloom", from love to relationships, to navigating life as a young woman and affirming her strength through vulnerability.

Jonny From Space is the moniker of Miami-based producer, DJ, and co-founder of Impacto, Jonathan Trujillo.

After two EP’s on Omnidisc and a few more self-released, Incienso is excited to announce his debut solo LP, ‘back then I didn’t but now I do’.

Loping drum loops, warbling synth lines, sun-streaked pads and voice amble into the depths of the humid world Jonny’s music inhabits, where tempos shift and often float off into the ether altogether.

In the words of JFS himself- this album is “built 2 chill”

"Acclaimed singer-songwriter Benjamin Francis Leftwich returns with his 5th studio album ‘Some Things Break’ which sees a subtle reinvention in Benjamin Francis Leftwich’s sound and some of his most daring lyrics to date. The album consists of ten brand new tracks, all written and performed by Leftwich and follows his previous album ‘To Carry A Whale’, released in 2021.
‘Some Things Break’ was written over the course of the past two years at locations across the globe including London, Nashville, Washington and Stockholm. It was produced by Grammy Award-winning producer Jimmy Hogarth (Amy Winehouse, Sia, Anohni & The Johnsons) and features collaborations with fellow songwriters including Mikky Ekko, The 1975’s Jamie Squire, Jon Green and more.
Album available on CD and ‘Evening Sky’ vinyl."

The last of the Konduko series from Emotional Rescue arrives now and quite possibly it is the best of the lot from Noel Williams. His 'Fantasy' saw him work with Larry Dermer aka Der Mer on what is an effective and catchy electro jam that operates at the higher end of the tempo chart with some classic vocoder vocal action to really make it pop. Despite being released originally in 1984 this one still bangs with its emulated TR-808 beats and nagging melodies. The instrumental heightens that and then the Jonny Rock Discomix shuts down with long-form rework that shows why the DJ, editor and all-round amiable bloke is so well regarded.

The Smile veröffentlichen ihr mit großer Spannung erwartetes Debütalbum "A Light For Attracting Attention" am 13. Mai 2022 digital auf XL Recordings. Die Vinyl- und CD-Veröffentlichung folgt am 17.06. Die 13 Tracks des Albums wurden von Nigel Godrich produziert sowie gemischt und von Bob Ludwig abschließend gemastert. Die Songs werden von Streichern des London Contemporary Orchestra und einer kompletten Bläsersektion zeitgenössischer britischer Jazzmusiker wie Byron Wallen, Theon und Nathaniel Cross, Chelsea Carmichael, Robert Stillman und Jason Yarde begleitet. Die Band, bestehend aus Thom Yorke und Jonny Greenwood von Radiohead und Tom Skinner von Sons of Kemet, hat bereits die Singles "You Will Never Work in Television Again", "The Smoke" und "Skrting On The Surface" veröffentlicht. "The Smoke" wurde außerdem als Dub-Remix des legendären Reggae-Produzenten Dennis Bovell veröffentlicht. Die letzte Single "Pana-vision" von The Smile wurde bereits am 3. April veröffentlicht und lief im Finale der BBC-Serie "Peaky Blinders". Das animierte Video zu Pana-vision zeigt Artworks des Radiohead-Künstlers Stanley Donwood sowie Thom Yorke. Die brandneue Single "Free In The Knowledge" erscheint heute parallel zur Albumankündigung. Das Video zum Song entstand unter Regie von Leo Leigh. Der Song wurde erstmals im Dezember 2021 von Thom Yorke im Rahmen der "Letters Live"-Veranstaltung in der Londoner Royal Albert Hall aufgeführt - dem ersten Auftritt von Thom Yorke seit Beginn der Pandemie. Bei der Vorstellung des Songs widmete er ihn allen britischen Musikerkollegen. Im Januar spielten The Smile drei aufeinanderfolgende ausverkaufte Liveshows innerhalb von 24 Stunden in London. Diese Shows wurden gleichzeitig per Livestream an ein weltweites Publikum übertragen. Die Band beginnt ihre Europatournee Mitte Mai 2022 und wird am 20.05 in Berlin im Tempodrom spielen.

our Flies' 45s series continues to pay tribute to the golden age of Italian film music, this time with the first 7-inch release ever of two super-groovy themes from Gianni Marchetti's soundrack to Milano: il clan dei calabresi (known in English as The Last Desperate Hours), a 1974 poliziottesco film directed by Giorgio Stegani.

"M2", on side A, is a re-versioning of a timeless classic – Quincy Jones' "Ironside" theme – where the punch of funk comes to the fore and is fused with the acid sound of early 70s Italian prog rock. This combination of jazz-funk and prog rock is found also in "M3", on side B, which weaves a tapestry of powerful horns and gently weeping guitarover a driving, funk-blues bass line.
A must-have for lovers of rare grooves and poliziottesco films! But don't wait around, it's a limited edition!

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Back in Your Life was released in 1979 under the Jonathan Richman & The Modern Lovers moniker, but only half the album featured the backup band. The other half of the album features Richman as a solo artist. The Modern Lovers were formed by Richman and included Leroy Radcliffe on guitar, Asa Brebner on bass and Denotra ‘D’ Sharpe on drums. Occasionally, they were joined by Richman’s friend and The Real Kids’ band leader John Felice.

Back in Your Life is available on black vinyl.

First album in seven years from Maple Death Records founder James Jonathan Clancy (Italy/Canada), and the first under his birth name following previous ensembles His Clancyness (Fat Cat, Maple Death) and Brutal Birthday (Total Punk, Improved Sequence). In the interim between those projects and this latest, ‘Sprecato’, Clancy has refined and honed his vision —steadily and carefully drawing from a host of disparate influences to create a new kind of singer-songwriter album that bridges the divide between cosmic loner-folk, proto-ambient music, and the epic, intricately arranged world of vintage Italian soundtrack music. For ‘Sprecato’, Clancy has assembled a transnational cast of renowned guest collaborators; including Stefano Pilia (co-producer/guitar/modular/synths/bass), Andrea Belfi (drums), Enrico Gabrielli (flutes, PJ Harvey/Calibro 35), Francesca Bono (piano, Bono/Burattini) —while the core of the band features Dominique Vaccaro (guitars, J.H. Guraj), Andrea De Franco (synths, Fera) and Kyle Knapp (sax, Cindy Lee/Deliluh).

Written and recorded between London & Bologna, the initial spark for the album was to be found in the book length work ‘Gli Sprecati’ (Canicola Edizioni), by visionary Italian comic’s artist Michelangelo Setola, who ultimately provided Clancy with the graphics

that grace the album’s cover and overall visual sensibility. Something of Setola’s near apocalyptic pastoralism runs through the record, even as Clancy’s themes grow beyond the seed they’d originally planted. Drum machines that sound as if they’ve been excavated from the earth meet detuned pianos and guitars; bucolic traces of synths stretched beyond all reckoning. While the band is both loping and epic —with shades of Pentangle’s Terry Cox in the live drumming in particular —there’s a new emotional depth and

With his rawboned and ravaged instrumentals from the early ’60s, Link Wray single-handedly made the guitar the ultimately cool instrument of choice for a whole new generation. Wielding a Danelectro Longhorn, Link Wray—who created the blueprint for everyone from the Kingsmen to the Cramps with his flame-throwing sound—proceeded to outdo himself with this rare LP from 1963, now corralled on this Sundazed exact-repro, in crunchily perfect sound courtesy of the original Swan mono master tapes!

"Jack The Ripper" by Link Wray includes the following tracks: "Deacon Jones", "Cross Ties", "Fat Back", "Dinosaur" and more.

This version of the album comes as a 1xLP pressed on RED vinyl!

The acclaimed Cleveland-born saxophonist Joe Lovano came to Blue Note Records in 1990 and over the next 25 years became one of the most recorded artists in the label’s history, building a formidable and far-ranging catalog that explored the full breadth of his artistry. Recorded in September 1997, Trio Fascination: Edition One stands out as one of the more remarkable sessions in Lovano’s discography with the saxophonist joining forces with two all-time legends—bassist Dave Holland and drummer Elvin Jones—in a spare trio setting that finds these three masters conversing freely. Throughout Lovano can be heard on tenor, soprano, alto, and straight alto saxophones, as well as alto clarinet, and the set consists of nine creative Lovano originals including the pulsing opener “New York Fascination,” the spacious “Sanctuary Park,” the Sam Rivers tribute “Studio Rivbea,” and a stunning rendition of the lone standard “Ghost of a Chance.” This Tone Poet Vinyl Edition marks the album’s first-ever release on vinyl.

The Tone Poet Audiophile Vinyl Reissue Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley, a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels.

Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180g audiophile LP pressings by Record Technology Inc. Every aspect of these Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.

The Who By Numbers ist das siebte Studioalbum von The Who, das von Glynn Johns produziert und im Oktober 1975 veröffentlicht wurde. Das Album war ein Kraftpaket und erreichte auf beiden Seiten des Atlantiks die Top 10. Das Album enthält Songs wie ”Slip Kid” und ”Squeeze Box”. The Who By Numbers ist jetzt auf schwarzem 180-Gramm-Vinyl erhältlich, das von Jon Astley, dem langjährigen Tontechniker von The Who mit einer Half Speed Technologie in den Abbey Road Studios gemastert wurde. Verpackt in der Originalhülle, mit Obi und Echtheitszertifikat. Verfügbar ab dem 02.02.2024 als 1LP Half Speed Masters.

Quadrophenia ist das sechste Studioalbum von The Who und erschien im Oktober 1973. Die zweite Rockoper der Band, die von vielen als ihr bestes Album angesehen wird, enthält die Songs ’The Real Me’, ’5.15’ und das epische ’Love Reign O’er Me’. Anlässlich des 50. Jahrestags der Erstveröffentlichung des Albums ist Quadrophenia nun als schwarze Doppel-LP erhältlich, verpackt in der Originalhülle mit Booklet, Obi und Echtheitszertifikat. Gemastert wurde es von Jon Astley in Close to the Edge und von Miles Showell in den Abbey Road Studios mit einer mit der Half-Speed Mastering Technik. Verfügbar ab dem 02.02.2024 als 2LP Half-Speed-Masters.

Industrial/metal/glam outfit Orgy was the first act signed by Korn’s Jonathan Davis to his Elementree imprint, and the move paid off right away with their 1998 debut, which went Top 30 and scored a huge hit with its cover of New Order’s “Blue Monday.” Somehow, though, this enduring late-‘90s favorite has eluded a vinyl release...till now! With the full cooperation of the band, we’ve had it remastered for vinyl (by Mike Milchner of Sonic Vision) and placed this platter inside a beautiful gatefold jacket. Clear with red and yellow swirl pressing!

"Candyass" by Orgy includes the following tracks: "Dissention", "Fetish", "Blue Monday", "All the Same" and more.

This version of the album comes as in a Gatefold Sleeve packaging.

The LP is pressed on transparent, red & yellow vinyl!

"A true heiress of the rich musical history of her native New Orleans, Britti is an arresting new voice in her triumphant debut, titled straightforwardly, Hello, I’m Britti. Inspired by musical luminaries from Diana Ross to Dolly Parton, and influenced by contemporary legends from Beyoncé to Sade, the album is one of immense gravity and a personal love letter to the place she calls home. Co-written and produced by Dan Auerbach, who flexes his signature ability to uplift genuine raw artistry, the album is a heartfelt confession that frames a window into Britti's soul, revealing her true spirit: fresh and wondrous, with a levee-like hold on her own heritage.
Similar Artists & Influences: Sade, Jill Scott, Solange, Corrine Bailey Rae, Erykah Badu, Beyoncé, Diana Ross, Valerie June, Norah Jones, Lauren Hill, Biig Piig, Orion Sun
“Britti's lush debut is an invitation to a stoned soul picnic somewhere between New Orleans and Nashville, a porch hang on a hazy summer afternoon, and a late-night slow dance party, all at once. Recommended if you dig: Diana in ’71, Dolly in ’78, Sade in ’86, Erykah in ’97” - Dan Auerbach, Producer "

Special tour only numbered 3 cd package. (Albums Inc: Joan Of All / Get Well Soon / Sarabeth Tucek) #33 MOJO AOTY 2023 #28 UNCUT AOTY 2023 Sarabeth Tucek emerges from a decade-long hibernation with a new double-album Joan of All under the new moniker SBT – a longtime nickname given to her by the many musicians she has worked with throughout her career. After retreating from the fevered pace of the record business to concentrate on other creative endeavors, Sarabeth began to piece together the music that would eventually become her most ambitious, personal project yet – the sprawling double-album Joan Of All, which will be released world-wide on 19th May 2023 via her own freshly-minted imprint Ocean Omen. Sarabeth Tucek officially broke onto the music scene 2003 performing a series of spellbinding duets with Bill Callahan on the acclaimed Smog album Supper. This was swiftly followed by a memorable appearance in the prize-winning Brian Jonestown Massacre documentary DiG! Sarabeth also contributed material to their 2005 EP release, We Are the Radio. One of Sarabeth's compositions covered by the band on that EP, "Seer," would later be retitled and released in 2006 as Tucek's debut single, "Something for You”, which became Steve Lamacq’s Single Of The Week on BBC Radio 6 Music. Her self-titled debut album produced by Luther Russell and Ethan Johns hit stores the following year and garnered rave reviews in the press, leading her to supporting Bob Dylan and unfaltering support at the BBC. In 2011, Sarabeth followed up her extraordinary debut with a raw, uncompromising album entitled Get Well Soon, praised as an unflinching meditation on the subject of grief. This release made many year-end lists and the title track was featured on the first season of HBO’s Girls.