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Garrett T. Capps & NASA Country are dissolving the boundaries that keep some folks safe and complacent and angry and pointing their fingers at each other. Ya know, the standard divides: the underground vs. the overground, jeans vs. slacks, boots vs. birkenstocks, left vs. right, tacos vs. burritos. This vision is apparent on their new album titled Everyone is Everyone. It builds off the American roots and country traditions, while incorporating psychedelia, punk and even Krautrock.

How wild did things get in 1967? So wild that a label (Audio Fidelity) not particularly known for its hipness put out a record with an insert to send away for “psychedelic ornaments” so you, too, could throw an acid party! And the back cover offered “instructions” referencing everybody from Emmett Grogan of the Diggers to Albert Hofmann, the discoverer of LSD. But perhaps the most amazing thing about this album was that, despite its almost comical (though well- informed) attempt to cash in on the psychedelic craze, How to Blow Your Mind and Have a Freak-Out Party wound up being a charming and even entrancing psych-pop gem of a record, albeit one with its requisite share of Eastern-influenced mumbo-jumbo. For its first-ever American vinyl reissue, we’re pressing up just 500 copies in “orange sunshine” vinyl, complete with the insert (you can try sending it in, but don’t get your hopes up). Groovy, man!

For their recent capsule collection in collaboration with Obey Clothing, Klasse Wrecks label owners Mr. Ho and Luca Lozano turn their hands to an EP entitled 'FREE TEKNO'. Inkeeping with the range's celebration of free spirited exploration and unbridled creativity the well seasoned and experienced production duo provide 4 tracks of various flavours. The mood is a little darker and faster than usual KW fare and throws knowing glances to late 90s genres such as Tribal Techno and Acid Breaks. The resulting EP is a good reflection of two producers happily in their own lane, enjoying the journey that come alongside with making music and running a record label.

Dalmata Daniels third LP comes from Rapha, marking his return to the label after contributing to its split and compilation series. Known for bold acid treatments and dark, futuristic tones, Rapha takes his craft to new heights on Midnight Dancer, which also features remixes by CT Kidobo and PRZ. The album opens with I Win U Win, pulling listeners into an adventure of pulsing basslines and cosmic, minimal electro. CT Kidobos remix then twists it into a darker, seductive French-inspired club sound. The third track, ...And Them, continues the journey of the opener with mechanical beats and textured soundscapes, while Alien Dance highlights Raphas signature sharp, distinct style leaving a strong mark on the deep electro club scene.

On the flip side, Midnight Dancer plunges into a hypnotic realm of haunting echoes and distorted rhythms, with heavy basslines reverberating through the darkest corners of the mind. PRZs remix of the title track retains the original groove but adds a cleaner, equally impulsive electro edge perfect for the club. The albums final tracks, Lost Start and Galactico, round off the journey with shimmering electro patterns and eerie, alien soundscapes, leaving an unforgettable impression.

In Midnight Dancer, Rapha showcases his ability to blend industrial grit with cosmic melodies, delivering hard-hitting electro suited for both club play and immersive listening at home or on a night ride. Be warned DDLP03 is limited to 150 copies, housed in a Studio Jetski designed jacket with a digital download card and shrink wrap.

Founded in the stillness of 2020 when a group of tight tight-knit up and coming musicians were robbed of their livelihood and greatest joy - live performance - the group came together in a graffiti smudged artist s space in an old industrial facility in Copenhagen s outskirts and created a space for themselves to improvise in a funky, groove based setting. A followup to their 2023 debut Moko Jumbie which explored the rich culture of West African music popularised by Mulatu Asastke and Fela Kuti, as the name suggests, Soul Piece leans further into the tropes, grooves and idioms of Western 60" s Soul and Funk. Recorded live over two days at the Royal Danish Academy of Music, the albums raw, warm production captures the energy, intimacy and excitement of a live performance, transporting the listener right in the centre of a pulsating dancefloor. Each song is rooted in groove and exemplary band musicianship, and made up of every stylistic feature one might crave from the genre: crunchy rhodes tones, percussive clavinets, thick organ textures, grooving tambourines, searing guitar solos, deep pocket drum grooves, infectious basslines, punchy horn backings and James Brown Brown-esque stabs. Self described as the young lions " of the Danish jazz scene, each member of the six piece is an active contributor to the country s diverse musical output; Norregaard, Langebæk & Besiakov can be heard performing regularly in the Fela Kuti saluting Black Money Orchestra and Bæst, Eskildsen with the Addis Ababa Band, and Thofte & Toftemark each leading their own projects in contemporary hard hard-hop to name but a few of their many ventures.

Im April 2024 ist es 25 Jahre her, dass Coldplay die 'Brothers & Sisters' EP über Fierce Panda veröffentlicht haben. Zur Feier erscheint im November eine Jubiläumsausgabe über Fierce Panda Records - das erste Plattenlabel der Band. Die ursprüngliche "Brothers & Sisters"-Single war eine 7"-Version mit zwei Tracks ("Brothers & Sisters" und "Easy To Please") und eine CD-Single mit drei Tracks, wobei "Only Superstition" der dritte Song war, der zwar nicht auf der ursprünglichen 7"-Vinyl-Veröffentlichung enthalten war (aber zum 20-jährigen Jubiläum auf limitierten Vinyl erhältlich war), nun auf dieser Jubiläumsausgabe seinen festen Platz hat Die Veröffentlichung fängt die Essenz einer jungen Band ein, die ihren Sound definiert und sich eine Fangemeinde erspielt. Die Aufnahme der drei Songs kostete 450 £ und die Single erreichte Platz 92 in den Charts. Als kurioser Bonus ist der vierte Track auf der EP ein Spoken Word-Beitrag, "The Story of Brothers & Sisters". Dabei handelt es sich um einen gelesenen Textauszug aus dem Hörbuch von "Pandamonium! How Not To Run A Record Label" von Fierce Panda-Gründer Simon Williams. In 'Knee-Trembler' (Kapitel 17, Seiten 159-168) beschreibt er in raffiniert intimen Details das Wie, Warum und Wozu der frühen Tage von Coldplay, als sie das Gebälk des Camden Falcon, des Kentish Town Bull & Gate und der Station Studios in Southgate zum Beben brachten, von Radio One's Evening Session angepriesen wurden und auf dem Weg zu 'Brothers & Sis' ihre ersten Kritiken in der Zeitung NME erhielten. Das Label Fierce Panda delbst feiert 2024 sein 30-jähriges Bestehen, was bedeutet, dass sie nicht einmal fünf Jahre alt waren, als sie Coldplay im November 1998 im Camden Falcon zum ersten Mal begegneten.

For centuries, the drum and its practitioners have been stewards to the physical and ancestral planes.

Detroit afroteknologist Huey Mnemonic advances his sound into a tomorrow unheard with his latest Subsonic Ebonics record, Brainscraatch, a 4-tracker of his researched and highly developed Afriko Tekno.

A portal tears open with the speaker splitting ‘Ankhobi’, blurring the lines between ritual and rave. An opening ceremony of a drum circle in the year 3000, knocking on the door of a domain beyond our own.

Entering the gateway with ‘Brainscraatch’ , a peak time percussive calling where a high pitched whine of sacred electronics becomes the foundation for a slippery hypnotic rhythm. Warranting a double take for the heads in the back fully immersed into the moment.

The portal collapses onto the unknown with the dramatic closer ‘Slipping Into Madness’. Rushing you beyond the dance into a flow state where time and space behave a little differently.

Offering his own perspective, Sard shares a jacking ‘Rescratch’ of the title track, leaning into an acidic groove faithful to the timeless freak funk of the midwest.

With this release, Mnemonic forges ahead to the borderlands of techno, leaving us with an ancient-to-the-future message,

Limited edition (200 copies) golden vinyl.

Michał Martyniuk, who lives in New Zealand, may be known from the band After 'Ours, whose double album was recently released by Funky Mamas and Papas Recordings.

His single was supposed to be released a moment earlier, but as it happens in the vinyl world - we had to wait a while for this wax.

Two of Michał's original songs, which he recorded with a great line-up: Jakub Mizeracki - guitars, Alan Wykpisz - bass, Tymek Papior - drums and of course Michał Martyniuk on keyboards.

The album is released in a super small edition of 200 copies, of which only 50 go on sale. The whole thing is being released by the reactivated Funky Mamas and Papas Recordings.

A real seven-inch rarity on gold wax.

A1 "3202" - This is one of those things that just happened. In his quest to discover something new in jazz, Michal combines and experiments with jazz harmony and groove club vibes, all performed using acoustic instruments. The aim is to encourage jazz audiences to get up and groove, and possibly introduce young people who like more upbeat music to discovering jazz. This Fender Rhodes based track is complemented by warm analog synths, a rock inspired guitar sound and tasteful drums that keep the groove going throughout the track. Recorded live in Poland late last year.

B1 "From The Planet Of The Hunters" - This track, as the title suggests, is a tribute to the great master Herbie Hancock. Michal has always been influenced by the sound of the Fender Rhodes and The Head Hunters. Without trying to copy anything, Michal based the song on a nice groove played by Alan Wykpisz on bass guitar and Tymek Papior on drums. While the groove takes us on a journey through time, Kuba Mizeracki on guitar adds beautiful melodies and rhythmic parts to complement the rest of the band. Michal Martyniuk, again with his Fender Rhodes, plays a simple but tasty and groovy solo, while adding some analog synths. This song is funky and rich in its simplicity.

Phantogram returns with Memory Of A Day, the band's highly anticipated fifth album. Known for their genre-defying sound, Josh Carter and Sarah Barthel once again push boundaries with a mesmerizing blend of dark psychedelia, electronic pop, and hard-hitting beats, exploring themes of nostalgia and memories. Featuring the hypnotic lead singles "Come Alive" and “All A Mystery,” co-produced by Grammy-winner John Hill, this vinyl—out October 18 on Neon Gold Records—is a must-have for any collection.

Enjoy The Ride Records in conjunction with Universal Music Group proudly presents Autopilot Off - Make A Sound, available on vinyl for the first time in celebration of the album's 20th anniversary. Make A Sound features the single "What I Want," plus " Make A Sound," "Chromatic Fades," "Clockwork," and "What I Want," which were featured in various video games of the era.

Hard-Fi make their welcome return with brand new single ‘Don’t Go Making Plans’ on Ignition Records. Their first new material in ten years, the track marks the first taste of an EP of brand new songs, as well as a big UK headline tour this November. Rolling around a sun-scorched groove and boisterous beats, ‘Don’t Go Making Plans’ is an immediate, soul-infused summer anthem, recorded at the band’s own Staines studio, produced by frontman Richard Archer and long-term contributor Wolsey White. It’s the end result of the first session together since 2011 album Killer Sounds and follows a series of sold-out tours and live shows over the last 18 months - listen here. As with many of the band’s songs, there is a thought-provoking depth behind Hard-Fi’s pop sensibility. The song’s defiant themes were initially inspired by the UK Government’s attempts to criminalise many aspects of popular protest through the 2022 Public Order Act, while the issue has been thrown into even sharper focus over the last year as police and people have repeatedly clashed on streets around the globe. SGB50LPXX

The Raging Nathans, the Dayton, Ohio-based punk band known for their high-energy performances and
melodic punk sound, re-issue their 2014 album "Losing It" after being out of print for a decade. The LP
captures the band's raw, emotive style, blending fast-paced rhythms with introspective lyrics. Features
all new artwork!

Crypt of the Wizard is proud to present With Hope or Without, a new mini-LP from Riders of Rohan, available now on vinyl and digital formats.

The singing Rohirrim hath returned on their continued quest through the nooks and crannies of Middle Earth to tell more tales of love, longing and derring-do. This time our heroes even hark back to an era far beyond the Third Age and the War of the Ring on occasion, delving into territory lesser known to the fairweather Tolkienistas. That is not to say we won’t run into some friendly faces. Indeed one familiar friend is well-met wandering free out on the borderlands in Ranger Song yearning for yesteryear, and for lost love with a great destiny ahead of him.

The Kilograms, a newly formed supergroup, bring together seasoned musicians from the punk, ska, and reggae scenes for a debut 2-song 7".

Features Joe Gittleman, best known as the bassist for The Mighty Mighty Bosstones, and Michael McDermott, the drummer for The Bouncing Souls, a band that has been a staple of the punk rock scene since the late 1980s. Also includes Sammy Kay and Jay Duckworth.

The Kilograms, a newly formed supergroup, bring together seasoned musicians from the punk, ska, and reggae scenes for a debut 2-song 7".

Features Joe Gittleman, best known as the bassist for The Mighty Mighty Bosstones, and Michael McDermott, the drummer for The Bouncing Souls, a band that has been a staple of the punk rock scene since the late 1980s. Also includes Sammy Kay and Jay Duckworth.

Die Schachtel Records is proud to present Ifigenia/Oreste, a new vinyl LP by celebrated Italian composer Paolo Spaccamonti. This album marks the seventh installment in the label's renowned Decay Music series, which has become synonymous with deeply emotive, abstract, and electronic/ambient music, which has so fare featured works of such names as Stefano Pilia, Giovanni di Domenico, Sandro Mussida, Vértice, Damavand and Claudio Rocchetti. Aim of the series is composing a fascinating scenario of the most interesting names of experimental musicians – mainly of Italian origins - working at the intersection of sound and music, abstract and visual, storytelling and abstract composition.

Paolo Spaccamonti has long been a significant figure in the contemporary music scene, known for his ability to bridge the worlds of instrumental, electronic, and experimental music. His most recent release, Nel Torbido (2023), is a testament to his ever-evolving artistry. With Nel Torbido, Spaccamonti delivered a haunting and immersive sonic experience that oscillates between tension and release, bringing together moody soundscapes, unsettling textures, and his signature understated guitar work. His exploration of silence, noise, and melodic tension has earned him recognition as one of the most unique voices in modern composition.

Composed by Spaccamonti, Ifigenia/Oreste is the original score for the theatrical production IFIGENIA / ORESTE, directed by Valerio Binasco and produced by Teatro Stabile di Torino. The music, both haunting and subtle, mirrors the play's minimalist and intense staging, immersing listeners in an evocative soundscape that blends ambient textures with guitar-driven melodies. The music was recorded and processed by Filippo Conti, with additional production and mixing by Stefano Pilia. The vinyl’s design has been crafted by Bruno Stucchi of Dinamomilano, making this release a fusion of sound, visual, staging and cultural reference.

In reflecting on his collaboration with director Valerio Binasco, Spaccamonti said: "From the first meeting with Valerio, it was clear that we aimed to create a production stripped of any unnecessary stylistic embellishments. Ifigenia and Oreste had to be severe, devoid of visual distractions, simple yet extreme in its own way. I sought to follow the same path with the music. The foundation is always the guitar, but I wanted to avoid overloading it, either harmonically or sonically. Sometimes, I treated it like a fragmented background noise; other times, I ventured into more aggressive, melancholic, or even melodic terrains, but always in a very human way. The text demanded an atmosphere that lived in the alternation of silence and rarefaction, like in the films of Bresson and Lanthimos. Short scenes interrupted by moments of darkness. In a marked rhythm, a suspense constantly suggesting the advance toward death, announced from the very first scene. Hence, the emphasis I wanted to place on silence through the music, even within individual tracks. Long, granular tails, like the (few) lights on stage."

A Universe of Pop: Fleetwood Mac’s Tango in the Night Features Meticulous Production, Includes the Hits “Big Love,” “Everywhere,” “Seven Wonders,” and “Little Lies”

Experience the 1987 Album in Audiophile Sound for the First Time:

Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Captures the Perfectionist Details

1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

The perfectionism involved in crafting Fleetwood Mac’s Tango in the Night reached a level of intensity experienced by few artists before or since. Commercially and creatively, the painstaking efforts paid off. Recorded over the span of 18 months, the triple-platinum album spawned four hit singles and put Fleetwood Mac back at the center of mainstream conversation. Its demands also ultimately forced its primary architect, guitarist-singer Lindsey Buckingham, to leave the group shortly after its completion. Was it all worth it? A thousand times “yes.”

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set of Tango in the Night presents the 1987 record in audiophile sound for the first time. Everything co-producers Buckingham and Richard Dashut sought to instill in the music — the exacting tones, gauzy textures, plush atmospherics, shifted harmonics, unique pitches, pristine acoustics, biting rhythms — can now be heard with elevated accuracy, range, depth, and detail.

Made under challenging circumstances, Tango in the Night is as much a universe of sound as it is an album. This reissue conveys that sonic spectrum in exhaustive manners that go beyond prior editions by playing with a combination of transparency, imaging, openness, and dynamics that provides uncanny insight into the meticulously layered vocal and instrumental tracks. Equally important, it also amplifies your connection to the elaborate melodies, contagious hooks, and airy highs that account for the album’s ageless pop brilliance.

As for the wondrous array of percussive accents, synthesizer elements, interlaced guitars, and lush choruses — all seemingly occupying the exact right place amid the soundstages and taking on shapes and forms that lend them a living, breathing quality? If your audio system is up to the task, the realism, presence, and warmth of Mobile Fidelity’s collectible edition will have you considering Tango in the Night from a new perspective — one that puts its lavish, gorgeous creations on a par with those from Rumours and Tusk.

Unlike those records, Tango in the Night began from a more individualistic perspective in that it sprang from what originally was intended to become a Buckingham solo effort. Instead, it remains the final album credited to the peak Fleetwood Mac lineup involving Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie. Though the participation of all the members varies from track to track, the cohesive arrangements and alchemic production on Tango in the Night suggest a unity that remains on a par with the band’s other landmark works.

Largely constructed from laborious methods that involved recording at half speed to achieve the desired sonics and tonal nuances, piecing together verses and choruses to attain seamless synchronicity, and Buckingham using a Fairlight CMI synthesizer/workstation in visionary ways, the songs pair electronic and acoustic elements to radiant effect. Tango in the Night also possesses light dance structures that resulted in several tunes being recast as dance mixes on extended-play singles. Above all, however, this is music that appears to float and cast dreamy spells.

Surrender to the frisky interplay of the opening “Big Love,” big pop punctuated with Buckingham’s back-and-forth “oh-ah” sighs that ping the Top 5 smash with innocuous sensuality and toe-tapping momentum. Delight amid the shimmering lights of “Seven Wonders,” whose shades and shadows shift amid Nicks’ raspy vocals and a large group chorus. Wrap yourself in the warmth of the weightless “Everywhere,” a flawless slice of hummable pop that topped with Adult Contemporary charts for three weeks and towers as an ode to the love everyone desires. Stare into the mysterious landscape of the title track (and dig the synthesized harp) just before it explodes, briefly ceding to a terse riff and locked-in grooves.

Tango in the Night teems with delightful surprises and well-honed specifics, especially when Buckingham and Christine McVie team together. In addition to the aforementioned “Everywhere,” the singer born Christine Anne Perfect plays a major role on four more cuts — all highlights — from the breathy, head-over-heels emotionalism of “Mystified” to the sweet, sweeping escapism of “Little Lies,” a cover-up of romantic despair aided by Nicks’ irreplaceable background vocals.

“If I see you again/Will it be the same,” asks Buckingham on “When I See You Again,” finishing up a song a longing-sounding Nicks had started while voicing words that many likely knew would resonate far beyond the confines of the heartfelt song — a goodbye wearing a faint disguise. Though Fleetwood Mac would never again reach the heights maintained throughout Tango in the Night, and members would go their own way, the album towers as a paean to what’s possible in the fields of pop, rock, and studio wizardry.

Joni Mitchell Gets Jazzy, Counterbalances Love and Trust with Freedom and Confusion on Court and Spark


Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP
Plays with Definitive Detail and Clarity: Pressed on MoFi SuperVinyl Strictly Limited to 5,000 Numbered Copies
Box Set Features New Liner Notes
1/4" / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe


Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.

Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.

The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians — including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott — crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears.

Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting — a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes — on the cover art.

Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.

Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre — no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions.

Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery,” complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill,” “”Down to You); fame and celebrity (“A Free Man in Paris,” “People’s Parties”); and sanity (the dark and stormy “Trouble Child,” a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves.

Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release.”

"Join the Kyle Shepherd Trio on 'A Song More Sweetly Played' as they explore, collaborate and improvise on the ‘songs we like to play’. The album’s title is a dedication to the celebrated South African artist William Kentridge, with whom Shepherd collaborated on a joint-work “Waiting for Sybil” that has toured world-wide. In addition to ten Shepherd originals, perhaps most unexpected is the inclusion of an exquisite reading of Massive Attack’s ‘Teardrop’ and a deconstructed take of Journey’s ‘Don’t Stop Believing’, a favourite rock anthem that Shepherd describes as a ‘guilty pleasure’.

‘The inclusion of the Massive Attack and Journey tunes – that’s something out of character to me,’
observes Shepherd. The selection rests well within the grand jazz tradition of repurposing popular songs as vehicles for improvisation, thought, and pleasure. ‘It just came down to playing some tunes that we like and we can flow with, so that we can be inspired and express ourselves in a very natural organic way,’ he says. ‘We walked away from the from the studio feeling like – you know, we actually really enjoyed playing this record! I felt less attached to any sort of predetermined concepts except that we would play some music that I wrote that we like – a selection of things that we like to play. It felt like a bit of a tonic – every musician gets a chance to breathe through the music, and the music just flows and moves as organically as we could make it.’

To hear one of South Africa’s foremost pianists play with intention, freedom and enjoyment, in the tradition and beyond it, is above all a gift to the listener, and Matsuli Music is proud to be able to share the Trio’s first album in a decade, A Dance More Sweetly Played.

Kyle Shepherd is one of South Africa’s leading jazz, film and theatre music composers and pianists of his generation, internationally recognised for his distinctive compositional style and performances. He was the Standard Bank Young Artist of the Year for Jazz in 2014 and the UNISA piano competition winner in 2019, and has performed in 28 countries around the world, including 11 concert tours to Japan."

The Kyle Shepherd Trio: Kyle Shepherd (Piano), Shane Cooper (Double Bass) and Jonno Sweetman (Drums).
All Compositions by Kyle Shepherd except “Teardrop” by Massive Attack and “Don’t Stop Believing” by Journey.
Recorded May 2024 at Sunset Studios, Cape Town
Recording Engineer - Jürgen von Wechmar
Mixed by Martin Ruch.
Mastering by Frank Merritt.
Artwork and Design by English Designed and produced with support from the Baxter Theatre, Cape Town.

Re-mastered from the original Mono Master Tapes. Limited repress 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Essay written by Brian Priestley.

Double insert using an original photo by JP Leloir from the concert.

Artwork by Jean-Louis Duralek.

Each record has been visually checked to prevent defects.

A never-before released Art Blakey 1965 live recordings.

First official release with the full permission and cooperation of the Art Blakey Estate & INA (Institut National de l’Audiovisuel).

Art Blakey, Live in ’65 boasts an exceptional one-hour concert from Paris in 1965. This performance showcases one of the few undocumented Blakey bands, the New Jazzmen, featuring Freddie Hubbard on trumpet, Jaki Byard on piano, Reggie Workman on bass, Nathan Davis on sax, and, of course, Blakey on drums.
Freddie Hubbard’s incendiary playing on “Blue Moon” and the blistering 24-minute version of his own “Crisis” shows that he was one of the most innovative trumpeters in jazz history.

On this live session, the audiences seem to have been enthusiastic and appreciative. “Everywhere we’d go people would say, This is the best Jazz Messengers we’ve heard!”, according to Davis. “And because of the way Jaki would play and Reggie would go, it was like a semi-freedom thing – with Messengers heads, you know, but when we got to soloing…! And Blakey was ridin’ and floatin’ the time…but he would always be loose enough to follow, to keep it going. He’s one helluva musician.”

Recorded at Palais de la Mutualité, Paris, France, November 3, 1965.

Freddie Hubbard (Trumpet)
Nathan Davis (Tenor saxophone)
Jacki Byard (Piano)
Reggie Workman (Bass)
Art Blakey (Drums)

In 2019 the debut album “Attitude” by Lonerider was released, a band that not only features Steve Overland (FM, Solo, Shadowman), Steve Morris (Heartland, Shadowman) and Chris Childs (Thunder) but legendary drummer Simon Kirke of Free and Bad Company fame. The band come across like Bad Company mixed with Shadowman and their debut “Attitude” was loved by many. Lonerider have the feel of that classic Bad Company that we know and love, yet the songs are modern, fresh and vibrant. In 2022, the follow up album titled “Sundown” was released boasting 12 new tracks of classic rock in the same vein as “Attitude”, well why change a winning formula? The band have continued to attract new fans and they have all been eagerly awaiting a third outing and it’s due for release in November, 2024. The album “Down in the Dust is released on 15th November in both CD and limited edition (500 all numbered) double vinyl. The Vinyl will have 3 bonus tracks. This is an extension of what this exciting band have already given us, and it just keeps getting better. The addition of Steve Mann (Lionheart / MSG) adds so much with that Hammond organ vibe, giving it an “old school” feel and yet the band continues to expand on fresh ideas and melodies. There are no fillers here. Once again, the Lonerider lineup excel themselves in giving us another fine release.

Ava Mendoza has never made an album quite as personal as her second solo full-length, The Circular Train. Through her decades of collaborations with Nels Cline, Carla Bozulich, William Parker, Fred Frith, Matana Roberts, and Mick Barr—plus years leading her power trio Unnatural Ways and playing in Bill Orcutt’s quartet—the guitarist’s name has become synonymous with virtuoso technique, raw passion, and visceral resonance, a player pushing the edges of the guitar’s possibilities. Along the way, from 2007 to 2023, Mendoza was writing these slow-burning, incandescent songs. The Circular Train is comprised solely of her single-tracked guitar playing and, on two songs, her corporeal singing. Her first solo LP of original material since relocating from California to New York City a decade ago, much of The Circular Train was honed amid pandemic years that clarified the virtues of slowing down. This expressive avant-rock is a definitive introduction to one of the most uncompromising and inquisitive visions in creative music. Mendoza’s thrilling melange of free jazz, blues, noise, classical training, and blazing experimental rock’n’roll all coheres with ecstatic feedback, with picking and solos that crest with shimmer. Sometimes she sounds like a one-woman Sonic Youth with guttural and poised vocals that equally evoke Patti Smith and blues greats like Jessie Mae Hemphill. Conceptually, The Circular Train is presented as a psychogeographical train ride through certain of Mendoza’s musical homelands. The songs draw on ancestral and recent familial memories, notably of her parents’ roots in mining towns—in her father’s home country of Bolivia and mother’s hometown of Butte, Montana, each country with its own history of colonialism, racism, forced labor, the eradication of culture and the subsequent excavation of it. These adventurous songs were composed in cars and planes, in the heart of the Mississippi Delta, in Los Angeles and upstate New York—which is to say in motion. “Ride to Cerro Rico,” named for the mountain and silver mine at the center of Potosi, Bolivia, was inspired by Mendoza’s great grandmother’s life there in a Quechua mining family. “Dust From the Mines” drew from that history as well as Mendoza’s familial lineage of miners in Montana, building up to stunning swaths of shredded iridescence. “Pink River Dolphins” was inspired by a visit to the Amazon rainforest, swimming with dolphins alongside her father—the pink bufeos that inhabit both Bolivia and Columbia—and the song is dedicated to the memory of Mendoza’s late friend, the Colombian-American trumpeter jaimie branch. They shared a fascination with those intelligent and agile creatures who often communicate by echolocation. “Make a sound, it comes back around,” Mendoza sings, and later, “Echo, echo/The answer in a sound,” evoking what branch knew well: through music we navigate life. The Circular Train contains one cover, “Irene, Goodnight,” composed by Gussie Lord Davis and popularized by Leadbelly; Mendoza has been performing it for over 20 years. Almost as deeply embedded in her repertoire is the penultimate track, “The Shadow Song.” “Treat your shadow kind and it might treat you good,” Mendoza sings on this song that she’s been reworking for over a decade, an emblem of devotion. “Treat your shadow kind and it might treat you right,” she repeats, becoming a blues mantra. What is a shadow self if not one’s secret world, which, once laid bare, awaits an echo, a return?

Bella and the Bizarre is a high-energy Berlin-based band that blends the raw intensity of garage rock with a silky soulful flow. A wild fusion of garage punk, sixties rock’n roll and a touch of RnB soul, with its own gentle smokiness. Combining a broad spectrum of influences - from Wanda Jackson to the Remains, Eartha Kitt to the Ramones, they are ready to set you in trance! Known for their vibrant stage presence and infectious energy, Bella and the Bizarre deliver performances that are as captivating as they are unpredictable.

This album took fuckin" forever, even longer than Decline. we started in December of "99 and finished in February "00. Of course we took the holidays off and we went on a three week tour in Jan. We recorded like 22 songs, but we scrapped 8 of them. We"ll finish them some other time. The title track "Pump Up The Valuum" got cut from the album. That"s wierd. we gave it to Epitaph for Punk O Rama 5. There"s another song called "San Francisco Fat" that is gonna go on the next fat comp. I guess a lot of the songs on this record are about drugs. I guess that"s because we like drugs and like singin" about them even more. well our drummer doesn"t like them so much. He did so much of em he had to quit seven years ago. But he"s not writing the lyrics. Am I rambling, I feel like I"m rambling, any way, I like this album. there"s no ska, no reggae, no jazz, just punk and punk and a little polka. I don"t feel the need to ever play a ska song again, but ya never know. Yes, I definitely think I am rambling.

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Entirely self-produced at Mood Hut Studios in Chinatown, Vancouver between 2022 and 2024, the album picks up where Opening the Door left off; the songwriting concise and refined, the voice front and centre on almost every song, the pensive mood irresistible and dense.

The apparently effortless melodic interplay of voice, guitar, synthesizers and bass that Jack is well known for is ever present but despite the clear-eyed harmonies and energetic rhythms there is a shadow that quietly haunts the album. The lyrical buoyancy of his early EPs and even some of the more explicitly sunburnt instrumental moments of his last record have continued to fade and peel like paint. Regret, remorse and melancholy are woven into almost every turn of phrase; the self-deprecating longing of Tracey Thorn and Sade Adu can be heard alongside the plaintive echos of Mark Hollis and Arthur Russell. The Mood Hut Records founder and NTS host digs deeper in all the directions that he only brushed upon on Opening the Door, creating a kaleidoscopic index of his omnivorous listening habits: from Underworld to Kate Bush, Disco Inferno to Bryan Ferry, Julian Cope to Arthur Verocai.

The LP will be released on Jack’s own Mood Hut Records on November 1st and will be followed by a live tour in the UK and Europe in November and December, featuring a string of dates opening for revered Los Angeles artist Jessica Pratt.
- Mood Hut Records, Vancouver

Produced by Jack Jutson at Mood Hut Studios, Chinatown Vancouver
Mixed by Jack Jutson and CZ Wang
Saxophone by Linda Fox
Strings on Falling Down a Well by Aiden Ayers
Bass on Down the Line by Diego Herrera
Additional synth on Red Cloud by Liam Butler
Artwork by Mela Melania + Jack Jutson






e A5. Pink Shoes Part I





Part II

"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre

"Bush Doctor," released in 1978 is now available on 1LP Red Recycled, is Peter Tosh's third solo album and his first under the Rolling Stones' record label. The album features collaborations with notable artists, including Mick Jagger and Keith Richards. Known for its fusion of reggae and rock elements, "Bush Doctor" includes tracks like the titular "Bush Doctor" and "(You Gotta Walk) Don't Look Back," which gained significant attention. This album continues Tosh's tradition of addressing social issues while also exploring themes of personal and collective healing through music, establishing him as a versatile and influential artist in the reggae genre

The Second House Crew Box Set contains a full set of absolute classics. Including the enormous hits "Euphoria (Ninos Dream) and "Super Hero" alongside epic remixes from The Criminal Minds, Nookie, Isotonik and three brand new House Crew tracks, this box set is an essential for every old skool and jungle vinyl addict!

Section 25 release their 10th studio album ‘Move On’ via Nine X Nine records. Originally formed in Lancashire in 1977 they are best known for their work with iconic Manchester label Factory Records. Fusing elements of post-punk, electro and synth-pop their sound is unmistakable and influential. ‘Move On’ has optimism at its core. It is a reflection of the past and a meditation on the present. Emotionally engaging with the here and now by understanding what has passed. Section 25 have built a lasting legacy as one of Britain’s most important bands in electronic music. Younger audiences may be familiar with their work through it being extensively sampled, including by Kanye West. The band were also namechecked in LCD Soundsystem’s breakout single ‘Losing My Edge’.

Out of print for 15 years, Soul Jazz Records’ “Do It Yourself” features a host of postpunk, punk, punk funk/dance and electronic experimentation from UK bands in
the late 70s and 80s that all arrived in the aftermath of punk. As well as loads of
great music, the album also charts the rise of the independent music industry in
Britain that similarly thrived during this time.
Featuring classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines,
Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this
new 2024 edition comes as a limited edition special coloured version double vinyl
pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.
This fully remastered album comes with extensive sleevenotes and photography
as well as interviews with key behind-the-scene players – including studios,
cutting rooms, print works – that together bring a fantastic insight into the DIY
music and culture of this period and the explosion in the independent music
industry after punk.

‘Leon’ is the highly anticipated fourth album from Grammy Award-winning recording artist, songwriter, and producer Leon Bridges. With 13 tracks featuring Leon’s signature storytelling and a unique blend of organic genre alchemy, ‘Leon’ is his most poignant, powerful, and personal work to date. He takes fans on a trip through the heart of Ft. Worth he knows best, the things he holds dear, and the people and places that shaped him. Featuring production by Ian Fitchuk (Beyonce, Noah Kahan), Daniel Tashian (Kacey Musgraves), and Tyler Johnson (Harry Styles, Miley Cyrus), Leon describes the album as “somewhat of a self-portrait… I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”



Quote from Leon:
“‘Leon’ has been a long-time coming. I started writing pieces of it as far back as ‘Gold-Diggers Sound.’ They didn’t fit what I was trying to do with that album and I tried moving on. But I couldn’t shake them because they’re part of me. And, if I’m honest, also because I think this is some of my most excellent work yet.In many ways, Leon has been in the works since my childhood. This record is about simpler days. It’s about time spent in my beloved Fort Worth and the experiences that made me the man I am today. It’s soulful music in the truest sense - it’s imbued with my soul.I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”

Zum ersten Mal seit 2021 wird Pipe-eye, der australische Musiker, Sänger und Songwriter Cook Craig,
eine brandneue LP veröffentlichen. Das Album mit dem Titel „Pipe-defy“ soll am 18. Oktober erscheinen,
wobei die erste Single „Lords Of Lithium“ einen ersten Vorgeschmack auf das gibt, was noch kommen
wird.
Mit Anspielungen auf die ehrwürdigen Einflüsse von Funk und Synthie-Dance-Klassikern der 70er/80er
Jahre stellt Pipe-defy eine stilistische Abkehr von seinen früheren Alben dar. Craig erklärt, dass er seine
Einflüsse auf dem Ärmel trägt: „Ungefähr zu der Zeit, als ich anfing, Songs für das Album zu schreiben,
schenkte mir meine Mutter einen Haufen alter CDs aus meiner frühen Teenagerzeit, die ich seit Ewigkeiten
nicht mehr angehört hatte. Da waren haufenweise Grandmaster Flash, Herbie Hancock, Zapp, Stevie
Wonder und andere Sachen dabei. Als ich weiter Songs schrieb, fingen sie irgendwie an, so zu klingen...
also denke ich, dass das irgendwie eine alte Besessenheit von diesem Musikstil in mir ausgelöst hat.“ Dies
wird besonders deutlich, da jeder Track den Hörer dazu einlädt, sich in einem Teppich aus hypnotischen
Synthie-Rhythmen, beruhigenden Orchester-Hits und mit den Füßen wippenden, mit den Knien schlagenden
und mit den Händen klatschenden Grooves zu verlieren.
Pipe-defy ist ein Beweis für Craigs Entschlossenheit, mit jeder neuen Veröffentlichung eine neue Ästhetik
zu erforschen und sein Bestreben, neue Wege beim Songwriting zu gehen, weiter zu verfolgen.