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Liam Bailey follows up his 'Ekundayo' album with this heavy hitting remix 7" featuring two absolute legends. The A side is a remix of Champion featuring Black Thought of The Roots. Black Thought kills the first verse finding the pocket over the Leon Michels produced reggae banger designed to bust up woofers and blow out dance floors. Liam and Thought combine to sing praises to a woman worthy of all the admiration they can muster, and in doing so, they take what was already a classic to another level. The B side is straight from the far flung corners of outer space. Producer Leon Michels strips down and revamps the album cut Ugly Truth, making room for the most special of guests, the one and only, Mr. Lee "Scratch" Perry. The Upsetter switches between singing and talking, one minute proclaiming his powers and the next playing with the title of the original tune. Some proper Lee Perry business alongside the already unstoppable chemistry of Liam Bailey and Leon Michels...An absolute Big Crown Surehot.

Deap Lips is Wayne & Steven from THE FLAMING LIPS with Julie & Lindsey from DEAP VALLY. This special collaboration came together after a friendship formed between the bands.- - The seeds of Deap Lips were first planted years ago, when Troy and Edwards each fell in love with the music of the Flaming Lips. The Lips' 1999 classic The Soft Bulletin is one of Edwards' top ten of all time. "You can listen to their entire catalogue and the experience is so intact, full of experiments, philosophy, hooks, and the sublime," says Edwards. "There are very few artists who can offer the same experience on a decades-spanning deep dive."

Flash forward to 2016 as Deap Vally were touring with Wolfmother and Coyne turned up at a show in Raleigh (Edwards was on maternity leave at the time). Wayne, in town scouting the best edible giant gummy props, came for the show and Troy and Coyne were introduced after the set.

After that chance meeting Coyne started following Deap Vally on Instagram and would tag them in random posts of the Lips in the studio, much to their delight and amusement. Deap Vally wondered:
is Wayne hinting at a collaboration? They had this theme on the brain as Edwards and Troy had recently embarked on a series of yet to be released collaborations with the likes of KT Tunstall, Peaches, Jamie Hince (The Kills), Soko, Jenny Lee (Warpaint), Jennie Vee (EODM), Zach Dawes (Queens of the Stone Age, Mini Mansions), and Ayse Hassan (Savages).

The imaginative talents of writer Neil Gaiman come to vinyl with this collection of three full-cast radio dramas based on his bestselling works. This highly collectible box set presents 5 x 140g gold
vinyl, in three individual sleeves (two gatefolds plus one single LP). Each one features an exclusive sleeve note by Neil Gaiman plus full cast, credits and broadcast details.
A frameable, full-colour print of Neil Gaiman, signed by the author himself, is also included. These are strictly limited to 750 copies.
Stardust, adapted by Dirk Maggs (Sandman, Good Omens) tells the story of Tristran who goes in search of a fallen star and enters the world of Faerie.
Norse Mythology is Gaiman’s retelling of myths populated by gods and monsters, all featuring tricks and trust, fiery endings and new beginnings. Chivalry tells the tale of Mrs Whitaker, who discovers the Holy Grail in a charity shop… The cast for these three productions features the crème de la crème of acting talent: Eleanor
Bron, Diana Rigg, Glenda Jackson, Matthew Beard, Sophie Rundle, Frances Barber, Maggie Steed, Derek Jacobi, Natalie Dormer, Colin Morgan, Nathaniel Martello-White, Kit Harington and many more, plus cameo appearances by Tori Amos and Neil Gaiman. A superb soundscape of music and effects accompanies each one.

Just in time for the holidays comes a brand new Christmas classic from Academy Award-winning composer Michael Giacchino (Up, Ratatouille & Lost) and if the world ever needed a shot of positivity right now then this is it!

The idea of writing a Christmas single happened whilst hosting a Christmas party with Richard Kind at the Royal Albert Hall in 2019. During that party, they heard a radio announcement regarding a Christmas song competition, and they immediately began trying to

write a song and find someone to sing it! Throughout the party, guests turned up, but no one wanted to sing the song, that is until Himesh Patel and UK band Itchy Teeth knocked on the door and took up the challenge. Himesh was fresh from starring in Danny Boyle’s film Yesterday, and Itchy Teeth were the band that performed with him throughout the movie.

Recalling classic Christmas earworms such as Wings ‘Wonderful Christmastime,” the single is written by Michael Giacchino, Elyssa Samsel and Kate Anderson and performed by Itchy Teeth. The B-side is a beautiful smokey lounge version of Christmas Number One performed by the John Robert Wood Yule Sextet.

The LTD 7’ comes complete with a digital download card and is presented in gatefold Christmas card cover, ready and waiting to be given as a gift and inscribed with your very own holiday greeting.

Let us see 2020 out in a flurry of positivity, optimism and fun, so get ready to be singing this song around the christmas tree this year with all your family (even if that mean doing so on Zoom)

Happy Holidays!!!

Part of the new brigade of artists making their mark on the label, Veerus lands his fifth release in two years on Drumcode.

With a pair of EPs and numerous contributions to the coveted A-Sides compilation under his belt since his debut in 2018, Veerus has established himself as a talented go-to producer for Adam Beyer; from his stirring cut ‘Hypnosis’ that highlighted the Drumcode founder’s Cercle performance, to the killer ‘System’ that provided an early 2020 moment for the label.

His consistent vein of form will result in a coveted spot at Drumcode Festival Malta 2021 in September.

‘Recovery’ continues the Italian’s talent for crafting powerful melody-led techno projections.

The title track is an ace. What begins as a smoky atmospheric cut is quicky elevated to beast status as intergalactic robot stabs shatter the mist, while an acid-underbelly adds to the mood. ‘Dysfunction’ brims with a distinct 90s synth aesthetic, propelled by a crisp and classy bottom end.

Numa Recordings is back again with a heavyweight release for all the grime heads out there: Badman Ting is a proper roadman anthem featuring Killa P, Irah, Long Range (aka Killa’s Army) and XL Mad (member of Numa Crew).

The original version sees the four MCs riding a heavy drill riddim with an unparalleled mix of dancehall and grime vocal styles. The riddim, produced by XL Mad himself, is minimal and impactful, combining spooky melodies with distorted 808 bass. All these elements make the whole thing.. a ‘Badman Ting!’

"Flowers Bloom, Butterflies Come" is the result of a dialog between the stunning Japanese photographer and artist Miho Kajioka and the wonderful UK musicians and composers Ian Hawgood and Craig Tattersall (The Humble Bee), initiated by IIKKI, between August 2019 and January 2021.

Born in the United Kingdom, Ian Hawgood spent most of his adult life living in Japan, Italy and Poland. Currently he calls Peacehaven (on the south coast, near Brighton) his home. Since 2009, he’s well-known with his work as the curator of the Home Normal label. He makes music using an array of reel-to-reel and tape machines in his studio by the sea, where he also master works for many labels and artists alike. You could often catch him on the coast with his faithful Nagra recorder, hydrophone and field microphones. These days his focus of music is on decayed ambient works using old synths and reels mostly, alongside his childhood piano. (site)

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 12 albums on his moniker The Humble Bee.

Miho Kajioka (b. 1973, Japan, lives in Kyoto) is an artist and a photographer since 2011. Kajioka’s work has been exhibited in Spain, Italy, France, the Netherlands, the USA, Germany, Belgium, Portugal and the United Kingdom. Kajioka’s latest book ‘so it goes’ won Prix Nadar in October 2019. "Kajioka's artistic practice is in principal snapshot based; she carries her camera everywhere and intuitively takes photos of whatever she finds interesting. These collected images serve as the basic material for her work in the darkroom where she creates her poetic and suggestive image-objects through elaborate, alternative printing methods. Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision. Her images evoke a sense of mystery in her constant search for beauty. The focused, creative and respectful way in which she uses the medium of photography to creating her works seems to fit in the tradition of Japanese art that is characterized by the specifically Japanese sense of beauty, wabi sabi. (…) According to her, photography captures moments and freezes them; printing impressions is like playing with the sense of time and getting lost in its timeline." (Ibasho Gallery)

His father used to be an electrician. Twentysomething years after leaving the cradle, he lets his lifelong-influence show with a superb debut single that will convince all minimal lovers with its subtle charm and dreamy ambience. "Blond" is the prototype of a KOMPAKT EP. Two tracks ambient, two for the floor.

Dettinger’s Vater war Elektriker. Knapp zwanzig Jahre, nachdem der kleine Olaf das Kinderzimmer hinter sich gelassen hat, lässt seine großartige Debütsingle irgendwie immer noch den väterlichen Einfluß erkennen. Eine Platte, die mit ihrem subtilen Charme und verträumten Ambiente alle Liebhaber des Minimal überzeugen wird. "Blond" ist der Prototyp einer KOMPAKT EP. Zwei Tracks Ambient, zwei für die Tanzfläche.

Tom Smith (Editors) and Andy Burrows (We Are Scientists,
Razorlight) return with their second album and follow up
to their 2011 debut ‘Funny Looking Angels’ (which every
year grows in stature as the alternative go-to soundtrack
for the Winter / festive season).
Produced by Grammy Award-winning producer Jacquire
King (Kings Of Leon, James Bay) and packed with classic
songwriting, the new album ups the pop ante with a
cannon of heart lifting songs including three singles
already lighting up both radio and streaming playlists
across the world.
The video for ‘Parliament Hill’, directed by Mat Whitecross
(Coldplay, Liam Gallagher), was shared by Coldplay to their
12.2 million Instagram followers.
Just before Christmas they also turned in an amazing
filmed performance of ‘When The Thames Froze’ (from the
first album) for The Late Late show with James Corden in
the US, with James declaring it “the perfect song for
Christmas 2020” and the album being “the greatest
Christmas album ever.”
‘All The Best Moves’ also elicited an apt response from Ben
Stiller, who tweeted “if this was a 45 I would have bought
it.”
TV - The Late Late Show with James Corden, Channel 4
Sunday Brunch.
Press - Reviews & features in Sunday Times.
Radio - Radio 2 playlist, New To 2, Jo Whiley, Ken Bruce Tracks
Of My Years feature, 5Live Nihal chat & session, Virgin Chris
Evans session.
Online - Tim’s Twitter Listening Party feature.

QThree returns with his 3rd full length LP. Fully mixed and produced by himself, he re iterates his neo blaxploitation sound. “persevere” is a reflection of black empowerment, cultural, political, and social views from the perspective of a black human. This full body of work is mostly inspired by social turmoil, indifferences with loved ones and enemies, disappointment in mentors, spiritual growth, and faith of a better tomorrow. Executively produced by himself, Darien “Brax” Schell and Mark Ryan of Baked Recordings, this project is a full circle representation of the Baked Life Brotherhood. Power to The People!

Following recent super-deluxe editions and multi-format releases of classic Who albums – ‘My Generation’, ‘Tommy’ and ‘Quadrophenia’, and the success of ‘Live at Fillmore’, we follow with The Who Sell Out – this set shaping up to be the most superlative of all…!!
Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

PM Warson grew up in an English town, in a post 9/11 world, drifting into financial crisis, against the staple suburban musical landscape of heavy rock, the ghost of the New Wave, and the fading star of the Indie Boom of the Noughties. He found his own fit in the form of Rhythm & Blues from half-a-century before, drawn in by records in the family collection, engaging at a visceral level, abstract from any subcultural connotations. While an outlier stylistically, he found camaraderie and direction among musically inclined peers, saving up two summers straight for a Rickenbacker guitar, getting the taste for playing live with an archetypal teenage power trio. After a move to London to study, he was without a band for a while. The Rickenbacker was sold for an archtop, and he delved deeper into his musical vocabulary - delta blues, Americana, early jazz and Rock'n'Roll. Meanwhile, via the capital's blues clubs and soul nights, he discovered a new setting for the music that had enticed him the first place, existing, not in a vacuum, but alive and in the moment.

A chance audition thrust him into full-time work as a touring musician. He found himself, blissfully under-qualified, serving an apprenticeship alongside conservatoire-trained jazz musicians and session pros. Meanwhile, the inevitable downtime in new cities on the road allowed for significant crate-digging between coffee spots and sound checks, while feeding off the knowledge of the players around him. Becoming more and more interested in production, ever-drawn to the Golden Era of record-making, he befriended the proprietors of Soup Studio, then an all-analogue facility based on Cable Street. He started moonlighting on production projects and learning the inner workings of a studio environment. A network was building, and when it was time to break out on his own, everything was in place.

Shedding the construct of a 'band' or a 'singer-songwriter', and perhaps the monoculture of contemporary music-making, he started cutting sides with a band of friends and acquaintances found along the way. Without any wider ambition, it was as much about the process as the outcome, evoking the R'n'B records of the '50s and '60s in practice rather than emulation. His first effort, the ramshackle "You Gotta Tell Me" became a de facto single, and after being urged to press a few copies to vinyl by a friend, it began to cause a few ripples on the local DJ scene. Meanwhile, a wild, off-the-cuff cover of 'Hit The Road Jack' caught the attention of a London music agency, giving his lineup an outlet for playing out. This included house-band sets at London establishments such as the Blues Kitchen, Old Street Records and notably at the opening of the Mary Quant Fashion Exhibition at the V&A Museum.

Marking Voitax's 25th release "Venice Pavillion", Farron delivers a beautiful blend of electronics that straddle the lines between jungle, IDM, electro, and techno. The A-Side kicks off with rough breaks, moody Reese basses, and fast footwork rhythms that crown the EP with its very own sparkling character - modern jungle topped with dystopian pads and pressing basslines are perfectly melted into the break-fuelled ride. The flip side doesn't cool things down - fluid drum patterns and hammering toms are continually chased by dramatic synths, with a constant weight brought to the table by the chunky low ends. The energy is maintained throughout, as jungle and electro live side by side in harmony in the track list before the release is brought to an emotional halt with a classy ambient piece.

• Although no longer part of the current Band line-up, Hamish Stuart remains integral to the continuing Average
White Band catalogue reissues, a band that is widely regarded as one of the best ever soul and funk bands.
• For the last 40 years, Hamish Stuart has been an in-demand songwriter, producer and studio/live performer,
working with Paul McCartney, Chaka Khan and Aretha Franklin, being part of the Ringo Starr & His All-Starr Band,
or the occasional meet-up of the 360 Band, which also featured former band mates Steve Ferrone and the lateMalcolm ‘Molly’ Duncan.
• Hamish has also written for Smokey Robinson, George Benson, Diana Ross Jeffrey Osborne and Atlantic Starr,.
• ‘Sooner Or Later’ was his first solo album, released worldwide between 1999 and 2000, so although celebrating
it’s Coming-of-Age, 21 years later, it’s the album’s debut release on vinyl.
• ‘Sooner Or Later’ has been edited and reconfigured by Hamish to give it a tighter sound and includes the single
‘Midnight Rush’, co-writer with Incognito’s Jean-Paul ‘Bluey’ Maunick.
• Other song writing collaborations include ‘It Is What It Is’, with Richard Darbyshire and Frank Musker and ‘I Don’t
Wanna Be A Rock’, with Graham Lyle.

‘Any Other City’ by Life Without Buildings, the only
album recorded in their brief existence, is
repressed and available again. Originally released
on Tugboat Records (a Rough Trade affiliated
label) in February 2001, ‘Any Other City’ has slowly
become a widely admired cult album.
Life Without Buildings formed in Glasgow in 1999,
they existed for three years and then split in 2002,
having released just one album and three double A
side singles, yet they’ve continued to build a
strong underground following in the years since,
which has culminated in copies of the original
album on vinyl changing hands for exorbitant
figures and numerous musicians citing it as a
major influence and inspiration.
Frontwoman Sue Tomkins’ unique vocal delivery
which is somewhere between talking and singing,
a kind of narrative, combined with the often spiky,
course backing that the rest of the band provide,
tends to prove magnetic after a few listens.
Life Without Buildings managed to be utterly
unique in the sound they made and ultimately
that’s what has made this album’s reputation grow
over time to be deemed absorbing, timeless and
utterly essential listening.

The term "Guitar Hero" is bandied about loosely these days. Seems like all you have to do is look good holding the thing and you qualify. But if you ask the actual guitar heroes---like Brian May, Jeff Beck, and Eric Clapton---who THEIR Guitar Heroes are, Steve Cropper is definitely on the shortlist. If all he had done were the records with Otis Redding that would be enough, but shortly thereafter he was leaving his fingerprints on records by Wilson Pickett, Sam & Dave, Johnny Taylor, Albert King, and virtually anybody worthy who came within earshot of Memphis. He was a Guitarist's Guitarist, and a Songwriter's Songwriter.

Fire It Up is Steve Cropper's first album of new Soul/R&B material in 10 years. The album was produced by Steve and Jon Tiven, and will be released worldwide on April 23, 2021 via Mascot Label Group/Provogue.

Angel Guts: Red Classroom is the beginning of Xiu Xiu’s descent from grayness into the deepest blackness endurable. It is the sound of Xiu Xiu’s death. Primary songwriter Jamie Stewart relocated to Los Angeles this past year, moving blindly into a neighborhood

whose notoriously dangerous reputation was unknown to him. The aura of his new home bleeds into every pore of the album, each lyric and note bearing traces of its essence: the terrible beauty, the despair, the violence, the ultra humanity, the uncertainty.

Working with only analog synths, drum set, and 1970’s analog drum machines, Xiu Xiu has never before sounded so focused, so captivating, so intent on delivering a kick to the throat. Unbearably dark, yet incredibly illuminating, AG: RC is the work of a band unraveling to its core and exposing the boldness within.

Los Angeles emcee Pawz One returns with Featured Unreleased Collab Kollection Issue Two (F.U.C.K I.T!), the second installment in the series that features guest appearances, unreleased songs and remixes.

The 16 track album includes artists like Talib Kweli, Ras Kass, A.G. of D.I.T.C and others are featured on the album along with artwork done by Gift Revolver who recently did artwork for Conway, Wu-Tang and Big Pun. Producers include Snowgoons and many others from Japan, Netherlands, Chicago and Los Angeles.





e 05: Mind Power (Remix) [feat. Termanology & Ras Kass]




[j] 10: Avalanche Warning (Remix) [feat. Percee P]





[e] 05: Mind Power (Remix) [feat. Termanology & Ras Kass]




[j] 10: Avalanche Warning (Remix) [feat. Percee P]

Best Of 50 Cent is a career-spanning chronicle of one of music's most compelling and influential artists. The compilation will be packaged as a 2LP, including classic cuts from his 2003-2009 albums, Get Rich or Die Tryin', The Massacre, Curtis, Before I Self Destruct, and the bonus cut 'How to Rob'. Release is Black vinyl, 180 gram, 2LP, Gatefold and comes with a Download Card

Incl. Chris Geschwindner Remix

To kick off with their series, SINM presents its first record: First try Fridays (incl. Chris Geschwindner remix). The tree tracker consists of a blend between UK Garage, House and Electro to bring forward cutting edge rave sensations with futuristic vibes.

A side takes you straight to a two-stepper projectile, setting the tone with "First Try Fridays" and its powerful wobble sub and short electric stabs. Perfect for threatening the dance-floor in peak time hours alongside mysterious DDA's approach.

On the flip side, Realness teleports you to a nostalgic scenario with its polished chord progressions and breakbeat strikes. Slowly building up with vocal cuts and glitchy transitions, B2 reaches a both nostalgic and mysterious climax. To close the EP, Beam Dump's boss man captures the beautiful essence of Realness bringing beach-like sensations to a tune that's perfect for warming up a dance-floor or enjoying the after-hours.

More to come soon from the SINM crew, stay tuned!

Favorite Recordings and Charles Maurice proudly present the 5th edition of the AOR Global Sounds compilations series: 8 rare and hidden tracks, produced between 1977 and 1984 in various parts of the world. Started in 2015, the AOR Global Sounds series was born from the will of Charles Maurice (aka Pascal Rioux) to share his longtime love for the AOR and WestCoast movement and highlight its influence for many artists in the late 70s and early 80s. In this 5th volume, he selected again highly forgotten productions, deeply infused with Disco and Soul flavors.

Half of the compilation’s tracklist is naturally coming from the US, homeland of this music style, while the other half is made of productions from all over the globe, from France or United Kingdom to Venezuela. And for most of these beautiful songs, it came from artists and bands rather unknown and often released as private press.

Often, these records will have a special story, sometimes they’re just part of the universal quest of finding true love. Nonetheless, they all carry a wide range of emotions magnified by the music.

For example, “Don’t Take It Away” by Westside is as a love song about a new relationship, recorded in Minnesota and mastered on Sunset Bld. (Hollywood) by Bernie Grundman, who worked on Thriller – funny thing, the original LP is a picture-disc, which was still quite rare back in the days because the singer saw one from Mickael Jackson when visiting the studio. “Til’ Mornin’ Comes”, the only release by The Ferry Brothers, is also a love song, recorded in NYC with notably Gwen Guthrie, Vivian Cherry & Patti Austin singing as backup vocalists. On “What Its Meant To Me”, Jonathon Hansen remembers with emotion the good times spent with the members of his band including the vocalist he was in love with. On “J’Irai Squatter Ton Cœur”, Didier Makaga better-known as a French Boogie & Pop singer, arranger & composer, sings a charming declaration of love on a heavy and groovy eighties production. “You Never Know” by Rhapsody, recorded in Connecticut, sounds more like an East coast fusion of Soul and Jazz-Funk à la James Mason. “What You Do To Me” by Sugar Cane was highlighted on a Pittsburgh Rock Radio compilation: listening to this smooth ballad with its amazing Moog synth break will lift your soul. “Kailua” by Venezuelan Jazz-Funk band Esperanto, is a song about Hawaii which evocates bucolic dreamy nights facing the ocean, a typical AOR vibe. Finally, “I Need You” from Mark Williamson is a blue-eyed soul UK groover ending on a four-on-the-floor climax!

And we could detail stories but our guessing is the best way to learn more about all these gems is to listen to the compilation, fully remastered from originals, and whether your preference is for vinyl or CD formats.

Deluxe 3LP mit 34 neu gemasterten Tracks und einem 60-seitigen Buch mit ausführlichen Linernotes, Interviews, bisher ungesehenen Archivphotos und den Texten (samt Übersetzung) in einem ,Tip On"-Schuber und drei ,Tip On"-Sleeves. Linernotes von Kevin ,Sipreano" Howes. Bisher fast nicht an die Öffentlichkeit gedrungen, kaum dokumentiert, aber im Kern ungeheuer revolutionär, nehmen die Aufnahmen verschiedenster Gemeinden amerikanischer Ureinwohner endlich in Form von ,Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985" den Platz ein, den sie verdienen. Eine Anthologie von Musik, die einst fast ausgestorben, aber nun für alle zu hören, ist ohne Frage eins der ambitioniertesten Projekte in der 12-järhigen Geschichte von Light In The Attic. ,Native Norht America (Vol. 1)" versammelt Musik der eingeborenen Völker Kanadas und der nördlichen USA, die in den turbulenten Jahrzehnten zwischen 1966 und 1985 aufgenommen wurde. Die Musik spiegelt die Zusammenführung globaler Popkultur und die Neuerweckung der eingeborenen Spiritualität und Ausdruckskraft wider. Der größte Teil dieses Materials war über Jahrzehnte lang durch fehlende Distributionskanäle und wenig Präsenz in den Massenmedien in Vergessenheit geraten - bis jetzt! Hier versammelt sich Garage Rock vom Polarkreis aus der Nunavik Region des nördlichen Quebec, melancholischer Yup'ik Folk aus Alaska und flüsternder Country Blues aus dem Wagmatcook First Nation Reservat in Nova Scotia. Man vernimmt Echos von NEIL YOUNG, VELVET UNDERGROUND, LEONARD COHEN, CREEDENCE CLEARWATER REVIVAL, JOHNNY CASH und anderen in den Songs, die jedoch mit eingeborenem Bewusstsein, Erzählkultur, Poesie, Geschichte und Zeremonie angereichert werden. Die Compilation ist gewidmet dem legendären Métis Singer/Songwriter und Dichter WILLIE DUNN, der auf der Anthologie auftritt, während der Zusammenstellung des Albums jedoch verstarb. ,Native North America (Vol. 1)" ist nur der Anfang; eine Zusammenstellung von Folk, Rock und Country aus den südlichen 48 Staaten der USA und Mexiko wird momentan in der Light In The Attic Goldmine ausgegraben.

Afrosound's mission was to emulate the guitar-heavy tropical sounds emanating from Perú and Ecuador at the time. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called 'inspiraciones'), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were also sprinkled in to spice up the proceedings. The dozen tracks on Afrosound's debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later. "La danza de los mirlos" kicks off with most famous Afrosound hit of all, 'Caliventura', a genius blend of funk and cumbia. Aside from the cumbia amazónica title tune, there are several other covers including three popular songs by Nelson y Sus Estrellas, plus radically reimagined versions of various Colombian costeño classics published by Fuentes. Mario "Pachanga" provides a sad but still groove-oriented Christmas son montuno / cumbia hybrid while Fruko brings us the bomba-funk ditty 'El chorrillo' and the rocking cumbia andina gem 'Cabeza de chorlito' where Sepúlveda channels Enrique Delgado. Fruko collaborator Hernán "Hercovalle" Colorado Vallejo rounds things out with the melancholic psychedelic cumbia 'Esperando por ti', proving that every tropical party has to have its down side as well. The record was also released in the US, Ecuador, Perú, Panamá, Mexico and Venezuela, and probably had an influence of its own, at least in South America. The cover of this lovingly restored reissue features the artwork for the Peruvian edition, which was licensed and issued by Lima's El Virrey label in 1974. The original Fuentes artwork, with a far more outrageous "cheesecake" image, can be seen on the back cover.

Freddy Cole's 'The Cole Nobody Knows' is available as digipack-CD & limited vinyl-LP / Holy Grail soul jazz album by Freddy Cole, singer, pianist, Nat 'King' Cole's youngest brother and uncle of Natalie. Privately pressed LP recorded 1976 in Atlanta, including famous version of 'Brother Where Are You' and nine more excellent rare groove tracks, most of them suitable for the jazz dance scene. Outstanding quartet takes throughout with stunning jazz ballad performances of 'Live For Life' and 'Miss Otis Regrets', jazz dance pearls 'Wild Is Love', 'Moving On - Place In The Sun' plus rough blues tracks like 'A Man Shouldn't Be Lonely' and 'Waiter Ask The Man To Play The Blues'. First 1:1 reissue of an extremely rare and highly sought after vinyl LP on the small imprint 'First Shot' from Georgia, remastered and with original first press cover art. Sonorama is proud to release a legendary and sought after soul jazz LP that will send shivers down your spine. 77-year-old singer & pianist Freddy Cole, youngest brother of Nat 'King' Cole and uncle of Natalie Cole, is a truly unique interpreter with an impressive career from 1952 until 2010. This very rare and privately pressed LP was recorded back in 1976 and finally gets its first remastered 1:1 reissue with original cover artwork (First Shot label), including such greats as 'Wild Is Love', 'Brother Where Are You' and 'Live For Life'. The original press album is highly sought after all over the world and fetches ridiculous prices at auctions. Even another LP release of the same set of recordings with different cover art, pressed 1977 on the Audiophile label, is nearly impossible to find today. 'Freddy Cole has had a great career, wether or not you've ever heard of him' (Pittsburgh Post-Gazette 2006) and he is still going strong: His quartet is currently touring the U.S., Switzerland, Germany or Lebanon and will come back to Europe for more shows in May 2010. Check 'freddycole' to find out about the man who 'just might be the most attractively understated jazz singer currently at work' (The Chicago Sunday Times 2000).

Sometimes a work of art comes unintentionally from a place from deep within the soul. It meanders and flops onto a table and sits and waits for its birth.
The album begins with "Wait Till The Stars Burn", a planetary ode to the Sun. The second track "Tribute to the Pharoahs Den", is a requiem for Danny Ray Thompson (R.I.P.) of the Sun Ra Arkestra, his music and legacy now floating above us in the infinity of space. Both tracks and featuring Marshall Allen and Knoel Scott (of the Sun Ra Arkestra).
The album ends with a requiem for Hal Willner (R.I.P.) whose devotion to celebrating the weird and insane was like an insatiable thirst leading to deep introspection and joy in harmony and sonic dissidence.
These compositions have all come from this place inside my bipolar, seroquil ridden mind. It is as much a tribute to the great composers who have inspired me; Alice Coltrane, Rahsaan Roland Kirk, Philip Kelan Cohran, Bernard Herrmann, Ennio Morricone, Miles Davis, Sun Ra, John Carpenter, Quincy Jones, Old Bollywood, Film Noir, to name just a few. In my 23 years of being a composer of music I have had the great opportunity to score several films all of which never got any commercial fame. These films were made from the blood and sweat of film directors and their crews who tirelessly made incredible documents that were ultimately ignored by humanity. But that never stopped them nor will it stop me. These tracks are from the infinite celluloid that runs deep in my mind, body and soul. In my lifetime i never thought i would see the deaths of "Celluloid" or "analog recording". I refuse to accept the coroner reports on said fatalities, so here is my offering to the canon of cinematic overtures and analog self-preservation, for the films in our heads yet to be made.

Exclusively on vinyl - 14 defining tracks from the most glamorous indie rock & roll legends.

Kicking off with The Killers ‘Mr Brightside’ and Franz Ferdinand’s ’Take Me Out’ - both huge anthems from the post-punk revival of the early 2000’s - a genre that took inspiration from the distorted rock scene of the late ’60s alongside the guitar & synth driven new wave of the early ’80s and produced some of the most creative and bruised tracks of the past twenty years. Some acts found mainstream appeal and delivered huge radio and chart friendly pop - The Bravery, Razorlight and Kasabian (represented here with ‘Club Foot’ which sounds as fresh today as it did when it was released).



The scene gave rise to bands whose growing fanbases could easily identify with them, not only for the music, but also the look and attitude. From New York, Yeah Yeah Yeahs and The Rapture are included here and from the West Coast, Dandy Warhols hit big with ‘Bohemian Like You’ and Black Rebel Motorcycle Club who scored a Top 5 album with their debut release. With particular emphasis on captivating live shows and an alignment to grittier rock aesthetics, The Vines, The Hives, The Libertines and The Fratellis all represented different elements of Indie Glam, while MGMT delivered one of the greatest debut albums of the period by melding Indie Pop with synth-driven psychedelia which included the incredible cut ‘Kids’, also featured here.



14 Essential Tracks on one vinyl album - ‘Glamorous Indie Rock And Roll’

Excellent EP, with 4 tunes into 4 different styles... Including 2 Harfloor tunes, a Techno-tribe 156 BPM track and... A good Spoacecore tune from Got X, bringing out a rare fishkopf kind of kick (not as core).

Following on from the great response to B.A.B.E 001 is ‘Once Bitten, Twice Shy’ – a five track record of raw, abrasive dance-floor centric music.

This time out, ethereal soundscapes and melancholic melodies have been tagged out for more driving, ominous beats. Reflecting the change in global attitude and personal mood at the time of recording, 002 serves as a noticeable departure in sound from ‘Hope That Kills’, moving into different territory as each B.A.B.E release aims to.

Fᴏʀ ᴛʜᴏsᴇ ᴡʜᴏ ᴀʀʀɪᴠᴇ ᴇᴀʀʟʏ ᴀɴᴅ sᴛᴀʏ ʟᴀᴛᴇ, ғᴏʀ ᴛʜᴏsᴇ ᴡʜᴏ ʙᴜʀɴ ᴛʜᴇ ᴄᴀɴᴅʟᴇ ᴀᴛ ʙᴏᴛʜ ᴇɴᴅs.

Kink Gong is back with his unique take and re-interpretation of the music he’s been recording and documenting for years in the South East Asian highlands.

Zomia Vol.1 takes the conceptual idea of ZOMIA, proposed by James C Scott in The Art of Not Being Governed, an Anarchist History of Upland South East Asia, to construct its very own mythological soundscape inspired by a semi-utopic region where state rules don’t apply. Zomia might be (almost) gone but Kink Gong is keen keep its spirit alive by releasing a series of albums celebrating the region’s quasi mythological features.

‘’Zomia is an idea, a concept that, not so long ago, there were two very distinct worlds in southeast Asia, the valley VS highland/hinterland, the civilisation VS the primitive, paddy rice VS slash and burn agriculture, Buddhism VS Animism, fixed territory VS movement/migration, written system VS oral culture, the state VS anarchy, property VS squat, controlled population VS autonomy, bricks VS bamboo and wood and, at my level museumified traditional mainstream music VS real emotions/songs of devastated lives and/or gongs ceremonies with buffalo sacrifices, extreme heat in the valleys VS shade in the jungle. I could go on and on but let’s not forget that ZOMIA is disappearing fast, if not altogether already. How many of the people I’ve recorded are still alive?

As you might know, before composing new music from my own ZOMIAN experience (from 2001 to 2014 in Cambodia, Laos, Vietnam, Thailand and China) I had to find those musicians, be able to communicate with them, record them as good as I could with very limited finances and gradually release a collection of 160 CDrs. It is very important for me to make sure you to listen to the fantastic original recordings before or after you’ve listened to this experimental reconstruction I called ZOMIA!

Expect more volumes to come, this is my biggest source of inspiration, and the reason why I’ve been involved for years in constructing a mythological experimental musical ZOMIAN soundscape.’’
Laurent Jeanneau, Berlin 2020

The MUSHROOM HOUSE compilation is a collection of balearic, afro and cosmic disco tracks that have been released on several Toy Tonics EPs over the last 5 years. Toy Tonics now releases some of these EPs on a double vinyl together. This is the second part. Featuring eleven tracks. (Vol 1 was released in 2020.)

Original tracks and remixes by friends of the label: Kiwi, Red Axes, Karl Hector, Hugo Capablanca, Harry Wolfman. Very special contributions by New York's legendary Joe Claussell and fashion designer Marcelo Burlon, who contributed the vocals to a song by Milan’s Barking Dogs. Art Alfie from Studio Barnhus is featured also with an exclusive track and legendary DJ Sprinkles with a magic rework of a Hard Ton song.

A few of the tracks had been already released on Gomma records. The now sleeping indie-electronica label that was the „mother“ of Toy Tonics records. Some were made exclusively for Toy Tonics.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED COPIES ON
ORANGE VINYL

Fronted by ace drummer Sly Dunbar and his venerable sideman, bassist Robbie Shakespeare, The Revolutionaries were a conglomeration of many of reggae's finest studio musicians. At the time of recording Black Ash Dub, the group were in their prime, boasting a stellar line-up that included the fanes Riddim Twins
alongside such luminaries as Ansel Collins on organ, Bingy Bunny on guitar, Gladstone Anderson on piano.

The LP provides ample evidence of their talents, harnessed by leading producer Jah Thomas, with revered dub masters, Prince Jammy and Scientist, mixing the
killer selection.

Originally released in 1980 and featuring 2 major club hits in Marijuana' and Cocaine', Black Ash Dub is today widely heralded as one of the finest dub collections of the era and considered an essential addition to the collections of all serious fans of the genre.

Available in a limited first pressing on 'Trojan' orange vinyl!

Overview: Ultravox’s ‘Vienna’ album was originally released in July 1980, their first with Midge Ure on vocals/guitar. Produced by legendary German producer Conny Plank (Neu!, Kraftwerk), it reached number 3 in the UK album chart and top ten in Australia, New Zealand and several European countries.

The album contains 4 UK Top 40 singles; All Stood Still, Passing Strangers and Sleepwalk (which was recently reissued as part of Record Store Day 2020) and the title track ‘Vienna’ which reached No.2 in the UK and Top 10 in seven countries around the world. The single went on to sell over half a million copies in the UK. This new vinyl edition has been mastered and cut at half-speed by Alchemy Mastering using the original 1980 production tapes. The second bonus vinyl includes single versions and b-sides from the 4 singles released from the album, including a previously commercially unreleased US Promo Edit of Vienna, which is exclusive to this edition.

9ms is the duo of Simon Popp and Florian König.
On their wide ranging debut album ‚Pleats' the tech-savvy drummers offer grooves from the dubbier realms of World Music and Krautrock - some meditative and light, some thick as wall and steady as a clock.
The album was recorded live in a large wooden hall in the Bavarian Alps with only three microphones. Using various infrared and magnetic field sensors, Popp and König were able to translate their movements into control voltage, which they then used to trigger and tweak synthesizers and a myriad of effects. A way for two humans to become one with their mystic machinery.

The established favourite Nicolas Laugier AKA. The Reflex has been a crucial name in the fabric of electronic music, and is widely praised for his masterful production style which has gained the seal of approval of heritage artists such as Nile Rodgers, Giorgio Moroder, Nina Simon, Kid Creole, Kathy Sledge, Noel Gallagher, Bono and Paul Weller - morphing some of the world classics into contemporary; certified rave anthems. Loved by tastemakers alike including Rob Da Bank, Gilles Peterson, Craig Charles and Mistajam, The Reflex is responsible for unleashing some of the best remixes to date.

Returning off the back of his latest revision of Norman Doray and Darren Crook's 'Sweet Freedom', which has so far gained nearly 150 worldwide radio spins since it's release on 6th November, The Reflex now puts forward an incredible 2021 revision of two time Grammy award winner Nile Rogers' 'Do What You Wanna Do'. A modern disco anthem, the track has since been remixed by producers like MK, Eats Everything and Rob Da Bank. With an already established repertoire of essential remixes and re-edits, the London based producer combines his unique Disco and Soul blend with his acclaimed musical initiative to create what will be an intricate and exceptional upgrade, and a key selection of an already impressive arsenal of releases.

A percentage of the royalties from this release will be donated to Nile Rodgers' 'We Are Family Foundation' - who collaborate with forward thinking organisation who believe in youth and together, build creative programming and content, empowering young people to take humanity forward.

Elusive UK producer Kilig brings a six-track EP spanning the British sound palette - forward, complex, with inflections of jungle and garage - to the new Shall Not Fade Classic Cuts imprint. Off the back of releases for Scuffed and Origins in 2020, kilig pairs their intimate knowledge of London's rave scene with more minimalist tinges for What My Mind Needs EP, a simmering club record soaked deep in ambience.

Taking sombre organic vocal samples and delicately placing them over a sharp two-step rhythm, opening track "Closer" is intangible, fantasy-like - the memory of music in your ears after you've left the club. There are echoes of Burial's seminal Untrue across the EP. Kilig aptly reflects the certain melancholy of British club music in the gritty "Overthinking" and mournful "Without You", an ensemble of distorted vocals and dramatic droning synth.

The rest of the record pushes into a more euphoric atmosphere - the title track is a soaring rave number while "Clocking In", a wild beast of a track, glitches and confuses. "I Wanted To Call & Tell You" swells in waves of breakbeat, bringing together the emotional core of the record, fading to gentle keys, the dream of raves to come in 2021.

One Night in Miami is a 2020 American drama film directed by Regina King (in her feature directorial debut), from a screenplay by Kemp Powers, based on his stage play of the same name.

It had its world premiere at the Venice Film Festival on September 7, 2020 and was the first film directed by an African-American woman to be selected in the festival’s history. It received overwhelmingly positive reviews, with critics praising King’s direction, the performances and the writing.

It is scheduled to be released in a limited release on December 25, 2020, followed by digital streaming on Prime Video on January 15, 2021

On one incredible night in 1964, four icons of sports, music, and pop culture gather to celebrate one of the biggest upsets in boxing history. When underdog Cassius Clay, soon to be called Muhammed Ali, (Eli Goree), defeats heavy weight champion Sonny Liston at the Miami Convention Hall, Clay memorialized the event with three of his friends: Malcolm X (Kingsley Ben-Adir), Sam Cooke (Leslie Odom Jr.) and Jim Brown (Aldis Hodge).

Based on the award winning play of the same name, One Night In Miami is a fictional account of the actual night that these formidable figures spent together in the hotel. It looks at the struggles these men faced and the vital role they each played in the civil rights movement and cultural upheaval of the 1960s.

More than 40 years later, their conversations on racial injustice, religion, and personal responsibility still resonate.

Hanamichi is Masabumi Kikuchi’s final studio album, before his
passing in 2015. Recorded in New York City’s Klavierhaus, on one their finest Steinways.
A dialogue between his free playing and song forms, Kikuchi is at the pinnacle of his craft.