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Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Grain is the third Innode release following on from Gridshifter in 2013 and syn in 2021.

A new methodology to make the album is applied yet again from the trio of Bernhard Breuer, Steven Hess and Stefan Németh. The approach is more an anti approach where the trio let the process of creation itself steer the development of the recording, without any prior conceptual agenda.

Irregular rhythmic patterns often served as the initial springboard for each piece with Breuer creating a loop either by playing drums or with the aid of a modelling percussion synthesizer. The results often bypass existing formulaic grids. The outfit embraced these anti-precision steps building shapes around the tarnished templates.

The process of building upon the core structures laid forth alters throughout. In the case of "Splitter" you can hear an example of Bernhard´s core loops dominating a skeletal audio sphere. The title of the track "Impactopium" reflects the process of its construction being a conglomeration of individual titles meshed into a whole. The audio is a non-linear compendium of several fragments of individual elements. A conscious method of exploring a more decentralised architecture saw three disparate elements layered randomly on top of each other with some synths added as a sonic seasoning at the later stages.

Elsewhere sonic elements are restructured in unusual ways. One member's contribution is completely stripped away, quiet sounds captured with contact mics are highly amplified, the last track introduces twisted themes of the first track.

The title Grain refers to the roughness resulting from these explorations. It also takes note of the term grain as used in analogue photography or in the case of audio as a distorted signal, or "noise". All of these elements, normally eschewed, are here embraced as a thematic thread to instigate the exploratory proceedings.

This is a playbox of inventiveness, a hall of mirrors and an endless search for unusual tactics and fresh results.

Tackling the initial loop tracks from a wide variety of strategic approaches Innode has concocted a strangely cohesive work. From sparse source material to heavy overdubs of overdubs grain is a uplifting collection of works from this relentlessly curious and exploratory Austrian outfit. Humans make the work but the random embracing of unexpected processes means the gentleman of the outfit is not fully ruling what becomes of these works.

Factor City kicks off its third decade in full swing, led by Undo solo and accompanied by its usual partners Casiowaves and Vicknoise.

It all began in 2003 when Undo & Vicknoise laid the foundation for the label with "Noctámbula," and over the years, they continued to collaborate closely, managing the label and producing "hits" such as "Orca" or "Happy Monday." From 2011 onward, following an amicable parting, Undo began to run the label solo while maintaining the same spirit and distinctive sound of the Barcelona-based label, always at the forefront of dance music produced in Spain.

Now, in 2024, in a "digital” world where fewer and fewer things can be touched with our fingers and where 100,000 songs are uploaded to Spotify every day, Factor City is charting a different course and starts a new decade on the dance floors by returning to vinyl releases and persisting in their low key and relaxed approach, releasing few and carefully curated records from their artists each year.

“Ciudad Futura” opens with "Good Times," a track by Undo that radiates joy and positivity. An euphoric ride through landscapes of analog synthesizers and drum machines. The second track on side A is signed by Undo & Vicknoise, who hadn't produced together in 15 years. And we hope they won't take as long to get back in the studio together after hearing the fantastic track "Electric Rainbow." A delightful slice of electro-disco. The B side is signed by the recent combo of Undo and Casiowaves. The first track, "Secret Worlds," follows in the wake of their recent releases on Factor City and Melodize with that winning combination of retro 80s and 90s synths with vocoders and a more contemporary production. Closing out the record is "Astralia," a vibrant "power synth pop" anthem adorned with FM synths and acid-tinged melodies. Thanks for listening!

Recorded at British Grove and Abbey Road studios, Daphne Guinness’s fourth
album, Sleep, is unlike anything Guinness has produced before. Contemplative, self-
reflective, and personal, it represents her most beguiling body of work to-date; a
sleek sophisticated experience enhanced by an array of esoteric creative touches,
complementing its dancefloor rush.

Mixed by Ricky Damian, known for his work with Lady Gaga, Adele, Georgia Smith,
Dua Lipa, her creative connections include long standing collaborator Malcolm
Doherty and Tony Visconti (who scored the album’s strings).

The album’s scale is further amplified by collaborators, including Guy Pratt (Madonna, Michael Jackson) and Rob Shirakbari (Burt Bacharach, Dionne Warwick), plus a 34-piece string section.

The scope of her associations extends far beyond the core album. Daphne collaborated with Nick Knight of SHOWStudio for the video to early single ‘Hip Neck Spine’, and with the iconic filmmaker and photographer, David LaChapelle for the current single ‘Volcano’.

Ricochets started their career back in 1998, and quickly became a force to be reckoned with in the Norwegian rock scene. They gained a lot of attention all over Scandinavia as a solid live-band next to their Norwegian peers Madrugada & Midnight Choir. "Isolation" was their third record, first released in 2005. Now on vinyl for the first time, remastered and packed in a great looking gatefold sleeve.

"Isolation" by Ricochets includes the following tracks: "Isolation", "Written On My Grave", "I'm Gonna Eat Myself", "Blues In Bb-Minor" and more.

The incendiary proto hard rock and ambitious epic journeys this album delivers are all the more uncanny and devastating when you realize Gary Del Vecchio was a mere 16 years old when the title track Buzzin was unleashed! Even more astonishing is how far he travelled over the next five years, documented in this brilliant selection of nine tracks from the classic daze of early 1970s underground rock. Ohio was a hotbed for hard rock at the time with bands like the James Gang, Glass Harp, Poobah, Left End, Damnation Of Adam Blessing… what you get here matches the style any of those bands laid down. Gary's music grabs you immediately and grows over time. Grabber and Grower… best of both worlds style! It makes sense that Gary later owned a recording studio, right out of the gate he was laser focussed on all the aspects involved in making music that stands the test of time. The guitar action is incredible, shards of sound flying free yet hitting the bullseye continuously, vocals confident with none of the macho posturing that ages poorly in much early hard rock. These tracks are all vividly recorded and meticulously mixed in a way that balances fiery performance and intelligent structure to maximum effect. The bass and drumming here are phenomenally inventive and propulsive, the several players involved across the album nail it in their support of Gary's vision. This is rock music born in the 'anything is possible' life affirming energy of the late '60s right on time with where the most enduring artists of the early '70s took it. Had he scored the major label deal he pursued with labels like Mercury or London at the time I am confident we'd be hearing his music on classic rock radio today! The music on this album is both uncompromising and accessible. In particular, the two long tracks Wasted King and Starman have all the moves needed to grab fans of Pink Floyd, Led Zeppelin and the likes by the throat and brain in the extended progressive epic department! RidingEasy Records sets a high bar when it comes to unleashing the best vintage hard rock you never heard… take my tip people, the ride this one takes you on is definitely an 11 on a scale of 1 to 10… Gary Del Vecchio really knows how to do it!

Big Crown Records is proud to present Brainstory’s sophomore full-length album Sounds Good.

Based in L.A. but hailing from the Inland Empire's own Rialto, California, two-thirds of Brainstory, Kevin and Tony Martin are brothers by blood, while Eric Hagstrom is a brother through their music and long term friendship. Since they started the band they have constantly faced situations that forced them to rise to the occasion. They got signed to Big Crown Records, they stepped up their game. COVID happened, they learned to record themselves. They started touring a ton sharing the stage with the likes of Lady Wray and they got their live show super tight. All of this time spent grinding and growing has certainly paid off. The path to take their art to the next level is clearer than ever, and once again, they are here for it. If there is one thing that is abundantly clear on Sounds Good, it’s that Brainstory has leveled up.

Part of this evolution is undoubtedly attributed to having access to and working constantly in their own studio in Long Beach. Another major factor is that their brotherhood has expanded. "I've been playing music with my brother all my life and now with Eric for a long time," Tony tells us. "Leon, though, is like another brother I've just met."

Leon Michels, Big Crown's co-owner, produced this record and applied his unmistakable golden touch in crucial ways. The other member of the extended Brainstory brotherhood whose contributions were essential to the album, is studio engineer legend Jens Jungkurth who controls the tones and textures of the music. "That's what you're hearing, our connection, the fun moments, the little details," Kevin describes. "This record isn't half what it is without them—and it made us want to match that effort," and match that effort they did. Album opener "Nobody But You" is an uplifting, dance ­oor burner, that shows off a new side of Brainstory's range. Drummer Eric Hagstrom’s crushing back beat lays the foundation for an inspirational feel good banger that manages to take the uncomfortable truth that “nobody will save you but you” and turn it into pure blissful motivation. "Peach Optimo" is a laid back half time tune that blends the bounce of Down South Hip-Hop with California G funk and Jazz. They once again show off their B said ballad talents with "Gift Of Life" but this time taking the genre to a new place with lyrics about existentialism and a track that is drop dead gorgeous, haunting, and profound all at once. "NyNy" is an homage to Kev and Tony's recently deceased grandfather while "Too Yung" is a show stopping, deeply personal, stripped down number about being introduced to

alcohol at a young age. They put another hit on the boards with "Hanging On," a Latin / Psychedelic Soul inspired banger featuring Claire Cottrill on background vocals while "XFaded” addresses the all too common vicious cycle of smoking and drinking too much over a trippy shuf­e.

"It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." That's one way to describe change: catching up to oneself. Each member of Brainstory has gone through shifts, both personally and musically, and all of that threads through Sounds Good. It's easy to say that the music industry can be short on lasting, genuine relationships. However, for Brainstory, from day one it's been about standing by each other, for each other. Their friendship started the group. Track listing:

Next on deck, straight from Producer Dan Ubick’s Lions Den Studio, comes two more re-imagined soul classics from Los Angeles’ own Night Owls. First up, we have soul phenom Eli “Paperboy” Reed taking on Ray Charles’ classic “You Don’t Know Me” and Rocksteady champions Jr. Thomas & The Volcanos, laying their beautiful soul harmonies to Eddie Kendricks’ timeless “If You Let Me.”

For Side A’s “You Don’t Know Me,” Ubick had a tough assignment - find someone who could bring his own innate soulfulness to a song sung by “The Genius” in his prime. The answer came from Massachusetts-bred Eli “Paperboy” Reed, who moved to Clarksdale, Mississippi at 18 to cut his teeth singing in juke joints all over the Delta. Then, moving on to spend a year as minister of music at Chicago’s Southside church of Soul legend Mitty Collier (Chess Records) and relocating back to the East Coast to record for Capitol Records, Warner Brothers, Colemine Records, and now Yep Roc, Dan had found his man. On “You Don’t Know Me,” Reed’s voice ranges from belted lows to soulful highs that perfectly sets the stage for this more upbeat and Roots Reggae-infused rendition. With a tip of the hat to Jamaican legend and producer Bunny “Striker” Lee, Night Owls take Charles’ classic soul and R&B standard to new territory. But that’s not all; Ubick also brought in Staten Island’s crown jewel, Eamon Doyle, who meticulously laid in all the vocal harmonies, faithful to Ray’s original. On Side B is Eddie Kendricks’ “If You Let Me” feat. Jr Thomas & The Volcanos (Colemine Records), re-done here with a nod to another legendary Jamaican singer, songwriter, and music producer, The Techniques’ own Winston Riley (Johnny Osbourne, Dave & Ansel Collins, Hortense Ellis, etc.). Originally debuted on Eddie Kendricks’ post-Temptations 1972 masterpiece People…Hold On (Tamla/Motown), Night Owls create a decidedly more moody and dubbed-out tone here, laying into a bass-heavy one-drop feel that perfectly sets the stage for Jr Thomas’ soulful lead and Volcanos members Alex Desért (Hepcat, The Lions) & John Butcher’s (The Expanders) spot on backing harmonies. While keeping much of the original harmonic language, Night Owls bring this much-loved classic to new heights, primed for the dance floor. It’s hard not to sway your hip and groove to this one!

Genesis' album Nursery Cryme, released in November 1971, marked a significant moment in the band's evolution and showcased the burgeoning talents of their new drummer and vocalist, Phil Collins, plus guitarist Steve Hackett.

Nursery Cryme saw the band take a more aggressive direction of some songs, with substantially improved drumming. The opening piece, "The Musical Box" combined the band's trademark mix of twelve-string guitars with harsh electric guitars and keyboards. The song, a macabre fairy story set in Victorian Britain, became the inspiration for the album cover, and went on to be a live favorite.

This album played a pivotal role in establishing the band's progressive rock sound and laid the foundation for their future success.

Although Peter Gabriel remained the band's primary vocalist, Collins' distinctive voice began to shine through on tracks like "For Absent Friends" and "Harlequin." Collins' vocals added a new dimension to the band's sound, blending seamlessly with Gabriel's, and hinting at the vocal prowess that would later define his solo career. His emotive and versatile singing style contributed to the album's overall charm.

Nursery Cryme is regarded as a crucial stepping stone in Genesis' discography, and with time, became recognized as a progressive rock classic. The album received acclaim for its adventurous and intricate compositions, combining elements of folk, rock, and classical music. Genesis' signature storytelling lyrics, often filled with surreal and whimsical imagery, captivated listeners and added depth to the music.

Critics praised the band's musicianship, with particular attention to the intricate guitar work of Steve Hackett and the melodic basslines of Mike Rutherford.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists.

“Fela Kuti meets Aphex Twin”
This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Following his meeting with Mathias Duchemin, founder of the Circus Company record label and a keen enthusiast of the new Israeli jazz scene, Yuval chose to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums.

While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.

With his debut EP Mo Wrights delivers a jazz-focused and narrative-driven record navigating the inner dialogue of a creative struggle of inferiority, abstraction and commitment. The story finds him enlisting some friends along the way to advance from one act to the other.

With the title track - ‘things2proof’ - Mo tries to combine his myriad of influences in a 6-minute record that weaves together elements of jazz, broken beat, acid jazz, fusion, hip-hop and hints of rock. The coherence comes from his poignant narrative, which resembles a four-act structure, telling the story of alienation and his internal experience of inferiority, creative frustration, and his eventual recognition of a solution, concluding by finally permitting himself to simply ‘be’. And for that we thank him!

The b-side ‘proof of concept’ follows the title track, Mo embraces a more laid-back approach, sitting sonically closer to his beloved broken beat sound. Amsterdam-based pianist Misto Kay delivers a long soul-felt piano solo that carries the track into untold dimensions of groove. With this offering the soul feels both heard and yearned for. It’s as if desire and satisfaction are in conversation with one another. You can’t help but be gripped, pay attention, and listen.

As a co-founder of the Amsterdam-based music platform Steppin’ Into Tomorrow, whose ethos is anchored in the principle of collaboration and unification of the Dutch scene is a deeply felt sentiment throughout Mo’s EP. He enlists a slew of emergent local legends, such as QUANZA, drummer Jamie Peet, flutist Han Litz, bass player kotokid and pianist Misto Kay to embellish and remix his creation. The remixes also illuminate other bright creatives the local scene has to offer, with remixes by the likes of - Kofi the Unknown, LYMA, Misto Kay and Jazz n Dance.

Kerri Chandler returns to his own Kaoz Theory with Vol.3 of his archive focused ‘Lost & Found’ series.

Kerri Chandler and his Kaoz Theory imprint continues to move from strength to strength still after decades at the forefront of House music. In this ‘Lost & Found’ series, Chandler dives back into his vault to unearth forgotten gems and bring them into the limelight today. For this release, Kerri also revisits ‘Let It’ from his recent ‘Spaces and Places’ LP, reworking it with a new vocalist this time round, namely AbbieLee.

Kicking things off is new version of Let It (Give Me Back My Love), laid out across six minutes, employing shimmering Rhodes melodies, fluttering arpeggios, a bumpy bass groove and crisp drums intertwined with AbbieLee’s soulful vocal stylings. ‘Another Dawn (Vocal Mix)’ follows with jazzy, bruk-tinged drums, uplifting piano chords and pulsating subs running alongside enchanting vocal lines,On the flip-side, Kerri dives into more underground basement realms with the murky basstones, shuffled dusty drums and expansive reverberations of ‘The Bassline (Kerri’s DarkMix). ‘The Breeze’ then rounds out the EP with an electro tinged 808 jam, utilising the machines classic cowbell chimes, skippy snares, rumbling toms and thunderous kicks.

The AKAGERA trio released their debut album Serpente in 2019. The subtle blend of African music and jazz laid the foundations for a new sound driven by an unconventional ensemble of instruments.

Their new album, Traverse, is the soundtrack to the imaginary travel diary of three intrepid musicians forced to put a hold on their adventures. Over a period of three years, they took time out from improvisation sessions to collectively compose a repertoire reflecting the diversity of their backgrounds and influences: classical and contemporary music for Benoit, mixed music from South America and the Caribbean for Stéphane, and African rhythms and Brazilian grooves for David, all to the backdrop of their shared passion for jazz.

David Georgelet: drums
Benoit Lavollée: vibraphone, marimba
Stéphane Montigny: bass trombone

Pressed On Coke Bottle Clear Vinyl! Ridin' Dirty is the third studio album by dirty south legends Bun B and Pimp C - together known as UGK. It is easily considered one of the greatest southern hip hop albums ever made, but let's drop all the labels this is just pure good rap music, for any region. It's all right there, everything that people have come to expect from Houston rap: candy-painted cars, wood-grained steering wheels, flashy jewelry, late-night odes to lean and weed, passing references to DJ Screw tapes, those warm funk synthesizers that sound like radio oldies. All of Ridin' Dirty feels iconic now— among other reasons, because so many of its lyrics have since been cribbed by everyone from Slim Thug to Jay Z. There's the laid-back badassery of "Diamonds and Wood," the zoned-out celebration of "3 in the Morning," the ridiculous boasting of "Fuck My Car." Everything here is essential. Ridin' Dirty was produced entirely by Pimp C and features start to finish bangers such as One Day', Murder', Hi Lif' and of course the title track Ridin' Dirty.' Pimp C's makes use of perfectly chosen Soul, Funk and Gospel samples to create a perfect soundscape for he and Bun B to trade verse over. Despite there being no singles or videos released from the album, the set went on to be a pivotal moment in southern hip hop as well as UGK's best-selling and most critically acclaimed release.

"Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You "Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You / I Just Can’t Explain It.” The single was recorded at the famed Kay Bank Studios (where groups like The Trashmen, Vaqueros, Readymen, Castaways and many, many more laid down tracks) but received very little airplay. Their second single featured “Echo” as the A-side, and it’s equally as fun, bringing a ? and The Mysterians-esque farfisa beat behind a driving, delightfully fuzzy bass and guitar. Like their first single, it didn’t go anywhere. The lack of budget really hurt the band, and with too many bills to pay, they weren’t able to recoup on recording costs. Poof… it ended up sitting on the shelf.

The remnants of their unfinished album can be heard here, along with unreleased material, a cover of the Hollies’ “Have You Ever Loved Somebody,” and three of their limited release singles, “All I See Is You/I Just Can’t Explain It,” “Peace Man/Tomorrow,” and “Because I’m Free/Sunshine.” Catchy yet complex, tune out and turn on to this unsung Twin Cities garage-psych treasure and prepare to Step Outside Your Mind."

Warehouse Find!

Best known for ‘Gonna Hang On In There’, its storming Northern Soul flip side, the more subtle ‘Night Bloomin’ Jasmin’’ also has admirers on the rare soul scene. Modernists, in particular, will go for the suave jazz-elegance of this recording which is even scarcer than its original A side - due to being one of two different flips.

The unrelated, bar the LA source of origin, ‘Tricky Too’ by pianist Gus Jenkins is a laidback instrumental groove, written as a sequel to his 1956 smash hit ‘Tricky’. Completed with a hip brass section, it failed to get a release until Ace bought the catalogue, unearthed the tape and slotted it into the 2012 “Mod Jazz Forever” CD

LP - limited re-press 2024! coloured Vinyl ! Cash Savage is one of the most respected and talented songwriters in Melbourne. With her band The Last Drinks, she has forged a reputation for gritty, raw and Australiana-tinged storytelling. One of Us is the result of a "fucking awesome, but fucking hard" 2015 for Savage, using the experience to generate a broader scope for songwriting. There's exploration of dichotomies and dualities, the songcraft emboldened by aural landscapes laid bare by The Last Drinks (Joe White, Rene Mancuso, Chris Lichti, Brett Marshall, Kat Mear).

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.

Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

High Llamas present Hey Panda - a modern pop music/deep listening experience that could only issue forth from their personal quadrant of the galaxy. Hey Panda projects soulfully through an enervating abstract of today"s popular music; the sound of the Llamas" stately melodies and expressive ditties laid open - blissfully shattered - with drums and vocals hitting different, burning sounds and contemporary production twists pulling the ear at every turn. For the past few decades, High Llamas have trafficked in contemporary pop sounds directed toward the avant end of the spectrum as much as not. But here the message was clear. Llamas" composer-in-residence Sean O"Hagan was determined to let go. Hey Panda does just that, with a set of tunes reflecting on multiple levels how definitions change over the course of a lifetime, radiating an optimism derived from the diverse conundrums of today. Eight years since their last release, the pop musical Here Come The Rattling Trees, High Llamas have reinvented themselves again, mixing their peerless harmonic voice with what Sean regards as the "extraordinarily good" production sounds of today on Hey Panda. Choosing not to look backward to former golden ages celebrated in earlier Llamas eras, Sean"s instead found himself opened up by the sounds of music brought into the house by his adult children and the sounds encountered at sessions for which he"s recently written arrangements. In addition to the more traditional contributions he made to The Coral"s Sea of Mirrors album, plus his score for the Safdie brothers" 2022 film production, Funny Pages, Sean"s drawn great inspiration through working with Fryars, Rae Morris, King Krule, Pearl and The Oyster, while also soaking up the work of Tierra Whack and Chicago"s Pivot Gang, and being cheered on from a distance by longtime admirer Tyler The Creator. Thus, Sean"s producer procedural has evolved again, with upgrades first detected in his 2019 solo effort, Radum Calls, Radum Calls. With a cover of Billie Eilish"s "Wish You Were Gay" arranged for Bill Callahan and Bonnie Prince Billy"s Blind Date Party, along with his COVID-era solo single, "The Wild Are Welcome", Sean has leveled up again and again, leading to the delirious revelations of Hey Panda. Hey Panda"s wide reach is aided by two co-writes from Bonnie "Prince" Billy, (who bonded with Sean over a shared love of gospel soul during writing sessions), guest vocals from Rae Morris and Sean"s daughter Livvy, production twists from Fryars and the stalwart, flexible presence of High Llamas. For all of its sense of departure, Hey Panda is a movement in the High Llamas oeuvre that"s been a long time in development. Aspects of soul music were addressed at the time of Can Cladders; similarly, aspects of electronic dance music were in the mix in the late 90s, around the time of Cold and Bouncy. But nothing up to now has refocused the music of High Llamas so completely. Sharing the impulse of late-period Miles Davis and Quincy Jones, with further inspiration from Steve Lacy, SZA, Sault, No Name and Ezra Collective, among many others, Sean O"Hagan and High Llamas are living joyfully in the new and the now, with Hey Panda.

As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."

As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."

As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."

Mode_1 Reclaim EP by DIG Records

Cover // Augmented reality by Omer Avarkan


********************************AUGMENTED REALITY COVER ***********************************

After a stellar debut release in 2023, vinyl-only label Dust in Grooves, sees its anticipated second EP Reclaim, showcasing one of Dublin's gleaming underground talents Mode_1. Establishing DIG as a progressive sonic platform, founder Olivia Mendez is also curating a series of dynamic augmented reality covers for each EP. Adding more layers into the sound experience of the Reclaim vinyl is motion designer and visual artist Omer Avarkan.


Mode_1's dedication to uncovering layers of tough but rhythmic grooves, both as a DJ and a producer, has led him to make a mark on legendary techno imprints such as Knotweed, FiedelTwo, Truncate and Naked Lunch. Staying true to his advancing, dynamic sound laid with dexterous technique, Robert Kavanagh delivers a collection of four ominous tracks, pulsating with incandescent pads and pacey drums.


The EP opens with the relentless and driving Sigma, setting the tone for a swiftly moving ride across the record. With playful shifting of gears and jacking rhythms, the A2 flows into the next track Dusty Room, utilising the bleepy pitches in contrast to the expansive spheric tones, offering an energetic boost of a melodic techno work-out, with hints of sharp dub edges.


Reclaim on B1 highlights the versatility of Mode_1, comprising multi-layered scales, evolving spiral sounds and a build-up of reverberating tones that escalate with poise. As a closing track of the record, Platform 8 is one of those B2 sides that you keep reaching out to. This ultimate big-floor tool is loaded with advancing movement, keys with mystical undertones, and depth of texture that play with the infinite nature of the number eight.


Unlocking the animated cover of the EP and seeing it come to life virtually, adds a new dimension to the classic format of the vinyls. To unlock its motion, follow the riddle on the back.


All tracks mastered by Nihad Tule.


Words by Lora Mateeva, Orb Mag

2024 Repress

Introversion Created A Name For Himself With His Remarkable Debut With The First Record On The Label, The Record Is Still In Rotation Today, And Surely Will Be Part Of The Rave Scene For A Big Timespan, He Is Back With A Complete 12", Providing His Ravy Personal Sound Reminiscence To The 90's, Now More Than Ever The Artist Is Defining His Own Sound, Creating A New Window Following The Old And Good Roots.

Damian Lazarus’ Crosstown Rebels imprint announces, ‘Portrait of the Obscure’, the stunning new album from Oceanvs Orientalis.

Following three superb singles on the label across the past four months, the nine-track LP offers a comprehensive exploration of the Instanbul-based talent’s rich, globally-infused and captivating sound, with the project set for release on 26th April 2024.

Safak Oz Kutle, known as Oceanvs Orientalis, is a producer and live performer based in Istanbul. His musical style intricately weaves together diverse sonic tapestries of wide-spanning genres and cultures, and through his creative fusion of these influences, he crafts an immersive world that takes you far away from the usual club music references. His music serves as a celebration of his musical heritage, and this has never been truer than on his superb new album ‘Portrait of the Obscure’, which again pushes traditional boundaries within the electronic sphere. Set for release on 26th April via Damian Lazarus’ renowned and celebrated Crosstown Rebels imprint, the nine-track LP project features a showcase of solo and collaborative material alongside close friends such as Tooker, Idil Mese and Tilahun Gessesse, delivering a journey into the creative mind of one of
the scene’s most intriguing talents.

The bold and riveting project kicks off with the captivating synthscapes, fluttering strings and plucked bass of the gorgeous ‘Pulse Antique’, before ‘Ministry Of Midnight’ cuts loose on more jumbled rhythms and intricate organic lines warmed with wordless vocals. Next up are two of the lead
singles - the tense and intricate house sonics of ‘Neutrality’ and the haunting atmospheres and ethereal synth lines of ‘IL Lupo’ featuring Tooker, while ‘Conritmo’ continues to bring exotic new string sounds, leftfield melodies and warped bass to this most vibrant exploration of candle-lit house sounds. ‘Soul of Calypso’ blisses out on far-sighted cosmic chords with sonorous bells and late-night spoken word musings that add all-new character to the innovative grooves. Then comes the laid-back, jazz-infused house of ‘Heart Pieces’ feat. Idil Mese, a deep and jazzy jungle shuffler
in ‘Mercury’ and the playful horns and lumpy, dub-wise swagger of ‘Lanchi Biye’.

An album project encompassing its title perfectly, ‘Portrait of the Obscure’ is just that - a magnificent snapshot of the unique musical mind of Oceanvs Orientalis.

After 7 studio albums with both Secretly Canadian and Western Vinyl Records over the last 20+ years, Early Day Miners have returned with their latest offering, and their first with Solid Brass Records, titled Outside Lies Magic. Early Day Miners' surroundings have always been reflected in their sound. Their early compositions, while in Bloomington, IN, mirrored the seemingly inescapable expanse of the Midwest. Now based in New Orleans their sound has yielded a subtle but correlative shift in the band. Outside Lies Magic offers an audible lightness. Most notably Dan Burton’s voice, once hushed and at times hesitant, is now full-bodied and sure; his heart, once tenuously carried on his sleeve, is now firmly in his throat. And though this might be the leanest the lineup has been, they are focused and warm, exuding the maximalism of their new home with nuance and a laissez-faire approach. Early Day Miners sound as unhurried as ever, but never aimless; Early Day Miners have finally arrived.

After 7 studio albums with both Secretly Canadian and Western Vinyl Records over the last 20+ years, Early Day Miners have returned with their latest offering, and their first with Solid Brass Records, titled Outside Lies Magic. Early Day Miners' surroundings have always been reflected in their sound. Their early compositions, while in Bloomington, IN, mirrored the seemingly inescapable expanse of the Midwest. Now based in New Orleans their sound has yielded a subtle but correlative shift in the band. Outside Lies Magic offers an audible lightness. Most notably Dan Burton’s voice, once hushed and at times hesitant, is now full-bodied and sure; his heart, once tenuously carried on his sleeve, is now firmly in his throat. And though this might be the leanest the lineup has been, they are focused and warm, exuding the maximalism of their new home with nuance and a laissez-faire approach. Early Day Miners sound as unhurried as ever, but never aimless; Early Day Miners have finally arrived.

BRTHR are a band from Stuttgart. However, their music sounds much more like Memphis, Nashville or
Tulsa. The focus is on the soul brothers Philipp Eißler (guitar, vocals) and Joscha Brettschneider (guitar).
The two write timeless Americana songs that taste of southern soul, but also of cowboy folk - the main
thing is 'laid back'.

Beltran and Harvy Valencia team up for their label debut on Hot Creations, unveiling a slick collaboration alongside solo cuts on their three-track ‘Origins’ EP.

Bursting onto the scene as standout talents, Brazilian Beltran and Colombian Harvy Valencia are quickly becoming globally recognised figures in their own right. With releases between them on esteemed labels such as Cuttin’ Headz, Solid Grooves, and Revival New York, the two now forge a new path as they unite for the first time on Hot Creations. Unleashing a trio of vibrant and impactful productions, headed up by their debut collaboration, the pair unveil a collection of cutting-edge sounds across their latest EP, 'Origins'.

Opening with playful bass grooves and crisp, organic drums, title cut ‘Origins (3AM Tusi Mix)’ welcomes a rolling masterclass from the duo. On the B-side, Beltran takes the lead with ‘Tira A Roupa (Putaria Mix)’, delivering punchy beats, funky riffs and crisp percussion, crafting a flawless laid-back groover. To close, Harvy Valencia delivers a powerful dancefloor experience with ‘Brut’, showcasing vibrant vocals, infectious beats and playful phone rings. showcases a deeper, sultry vibe with alluring male vocals at the core.

Funkyjaws Music is back with more music to make your jaw go funky, this time in the form of a second volume of its Let's Dance series. It features a quartet of esteemed tune makers starting with Frank Booker's 'Yes No Maybe' which is a horn laced and loose-limbed delight, while go-slow master Eddie C brings his classy touch to the funky licks of 'Love Dancing Theme.' There are plenty of cosmic synth waves to Black Truffle's 'Dancing Through The Night' while the LTJ Xperience close down with a super laid back and summery vibe on 'Sunny Groove.'

BVDUB's Fumika Fades is a glorious new double pack that is again stuffed with inspired sonic detail and moving ambient soundscapes. The subtle complexity of his sound is laid bare again here with just eight long and involving pieces that ebb and flow, rise and fall, pull you in and push you out. It follows on from a busy 2022 in which Bay Area dub techno titan Brock van Wey put out several great double packs. This one comes with beautiful artwork, too, and is another great addition to the shelves from this man's ever-more spotless catalogue.

"The American hard rock band Mountain was formed in 1969 by Leslie West, Felix Pappalardi, Steve Knight, and Norman Smart. The year after, they released the debut studio album Climbing!, which peaked at #17 on the US Billboard Top Albums chart. It includes the group's best-known song, ""Mississippi Queen"", which became a hit, and ""Never in My Life"", which was regularly aired on contemporary FM radio. Both were sung by West, while Pappalardi supplied the vocal on another radio favorite, ""Theme for an Imaginary Western"" (co-written by Jack Bruce). Climbing! is available on black vinyl and includes an insert."

Climbing! by Mountain, released 15 March 2024, includes the following tracks: "Never in My Life", "For Yasgur’s Farm", "The Laird", "Boys in the Band" and more.

This version of Climbing! comes as a 1xLP. This release comes with (a) Insert(s).


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Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

On A Golden Shore arrives as The Hanging Stars reflect on a year of triumphs. With an Americana Music Association Bob Harris - sanctioned award and a Nashville sell-out in Third Man’s Blue Room with Jack White approvingly looking on, they’re a leading light in the UK Cosmic Americana cohort. Their standing has allowed them to pay less attention to any preconceptions of what they are ‘supposed to be’. On A Golden Shore - their fifth album and their second for the pioneering Loose Music, following 2022’s Hollow Heart - finds them definitively themselves and presents a set of disparate songs whose fundamental linkage is the band that made them. On A Golden Shore was recorded at Edwyn Collins’ Clashnarrow Studios with Sean Read producing. Singer/guitarist Richard Olson, drummer Paulie Cobra, multi-instrumentalist Patrick Ralla, plus freshman bassist Paul Milne – laid down the album’s backbone over eight days. Mostly recorded live, even the solos done as a piece. Much is first take because trying better, it never worked as well. Pedal-steel player Joe Harvey-Whyte created and added his parts at his London studio bringing ‘shimmery psychedelic goodness’. Smartly sequenced On A Golden Shore proceeds in clusters of songs; commencing with the free and easy choogle of ‘Let Me Dream Of You’, encompassing the sunny glam of ‘Sweet Light’, the baggy Balearic waft of ‘Happiness Is A Bird’, the pan pipes and bongos of the exotic ‘Golden Shore’, through to the rolling banjo of ‘No Way Spell’ and the celestial cascades of ‘Heart In A Box’. Fashioned instinctively On A Golden Shore is ultimately an album of sensation as much as thought, filled with fleeting moments of blissful excess, and stumbling, rushing flutters of sound; its evanescent psychedelia, divine choruses, and shards of strings combine into an infectious, compelling Cosmic Heartbreak Boogie.

15 years after their last album of original music, the Robinson Brothers present ‘Happiness Bastards’- their 10th studio album. Some may say the project has been several tumultuous years in the making, but we argue it's arriving at just the right time. Call it brotherly love or music destiny that brought them back together, the highly anticipated record consecrating the reunion of this legendary band just may be the thing that saves rock & roll. In a time where the art form is buried beneath the corporate sheen of its successors, The Black Crowes are biting back with the angst of words left unsaid penned on paper and electrified by guitar strings, revealing stripped, bare-boned rock & roll. No gloss, no glitter, just rhythm and blues at it's very best - gritty, loud, and in your face.

Since The Black Crowes reunited in 2019, they've made a triumphant return to form with over 150 shows spanning 20 countries worldwide, celebrating the 30th anniversary of ‘Shake Your Money Maker’, the album that put them on the map. Upon their return from the road, they knew they needed something new to show for their lost time. The Robinson Brothers and longtime bassist Sven Pipien headed to the studio with producer Jay Joyce in early 2023 and the experiences of years past transcribed themself through the music as the band found their way back to their roots. And it's finally here!

Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with "Salt", her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut "Dust" in 2020, "Salt" takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. "Salt" features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl and the renowned artist DM Stith.

The "Dust" has settled. After having recorded her solo debut of that name, in 2020 the world came to a grinding halt, leaving Marla Hansen left to her own devices in her adopted home of Berlin. For Hansen, who previously had lent her talent to many creative minds such as The National, Sufjan Stevens, The Hidden Cameras, Jay-Z and Ravi Coltrane, the collaborative aspect of writing and producing music had always played a crucial part in finding her own path as a solo artist.

"I started to explore synthesizers and electronic production myself," she remembers of the time when meeting other musicians in person was out of the question. "I am proud that I accomplished many of the electronic elements of the new album by myself, and otherwise laid the groundwork for the final electronic structures through my own experiments. I always wanted to record a 'big' record, one that has a lot of power and sound, and this one is 'bigger' than anything I have done so far."

"Salt" is big, indeed. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. If This Mortal Coil/The Hope Blister were ever to record another album, these songs should be high up on the shortlist of tunes to pick. "The One Time" - a duet with Hansen's long-time friend DM Stith - gently meanders between a Philip Glass-inspired piece for chamber orchestra and a vocal ensemble performing on Top Of The Pops. In this range of styles and approaches, Hansen's vision is more present than ever.

For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling."

But what are songs actually about? "The themes revolve around a feeling of being trapped. Having to stay inside during the pandemic, with all the silence and stillness coming with it. Simultaneously, I was caught up in a professional situation that was not working for me, yet it required a lot of energy and time. I was thinking a lot about how to break old habits and patterns. Patterns in my life, patterns I saw my friends and loved-ones stuck in. There are a lot of ways that people can be trapped, and breaking out of that requires a lot of courage and energy - on all levels. The title 'Salt' seemed to fit, ocean themes showed up naturally in some of the songs, and I thought often about the quote: 'The cure for anything is salt water: sweat, tears or the sea.' Maybe I was just dreaming of the ocean, since it was inaccessible for the first time! But I wanted a cure for this feeling of being trapped, in a time of uncertainty and anxiety, salt as a remedy seemed to have some truth in it: sweat, tears or the sea."

Perseverance and the urge for freedom prevailed in the end. "Salt" is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

Of the countless accolades and analyses that surround Blue, no point is more significant than the fact that the 1971 Joni Mitchell album continues to become more popular, revered, referenced, and relevant with each passing day. Such vitality is not only extremely singular; it is the ultimate measure of great art and, in the context of Blue, indisputable proof of the record's accessibility, integrity, and timelessness. If the most brilliant and everlasting music seeks to find truths shared by all of humanity, Blue can be said to be universal doctrine.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl, and strictly limited to 12,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the landmark album with reference-grade detail, tonality, and directness. Marking the first time the beloved LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on definitive-sounding vinyl and SACD sets.

Everything about Blue sounds more intimate, involving, and inescapable on this transparent pressing, which benefits from a virtually non-existent noise floor and superior groove definition. Mitchell's voice, positioned front and center, and primarily accompanied by minimalist acoustic guitar, piano, and dulcimer playing, comes across clearly and prominently. Suspended notes and radiant chords double as question marks, commas, and phrases. The in-the-room presence and spatial dimensionality make absolute the full-range spectrum of introspective emotions — hurt and distress, self-awareness and joy, difficulty and uncertainty, warmth and desire — Mitchell navigates, queries, and contemplates throughout the record. The defencelessness the singer once spoke about is laid bare here like never before.

The packaging of the Blue UD1S set complements its distinguished status. Housed in a deluxe box, both LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. This UD1S reissue exists as a curatorial artifact for listeners who prize sound quality and production, and who desire to engage themselves in everything involved with the album, including the unforgettable cover photograph of a ruminative Mitchell shot by Tim Considine.

Deemed the third Greatest Album of All Time by Rolling Stone; universally celebrated by critics, fans, artists, and educators; and defined by a spell of disarmingly vulnerable songs that are at once confessional, intense, spare, honest, painful, hopeful, and exquisite, Blue charts love, spiritualism, independence, and loss like no record before or since. Widely considered the album that established the singer-songwriter template, the largely autobiographical LP changed everything shortly after its original release in June 1971. Amazingly, it continues to do so more than five decades later.

An incalculable influence on generations of artists, it stands as the through-line from Carole King, Elton John, James Taylor, Joan Armatrading, and Leonard Cohen to Patti Smith, Carly Simon, Emmylou Harris, and Rosanne Cash to 21st century contemporaries like Brandi Carlile, Taylor Swift, Sharon Van Etten, and Courtney Barnett. Teetering between agony and optimism, it is — to borrow a phrase from Mitchell's eternal "A Case of You" — a bottomless "box of paints."

The beauty of the stripped-down arrangements, intoxicating melodies, and Mitchell's wisdom on Blue didn't go unnoticed. Critical acclaim, coupled with the depth of the material and Mitchell's reputation, propelled the album into the Top 20 in the U.S. and Top 10 in the U.K. Yet while so much pop music diminishes with age, Blue has defied norms and headed in the opposite direction. Its 50th anniversary year witnessed an outpouring of tributes, reflections, and testimonials that helped frame the record's escalating importance and symbolism — apt in an age in which women have become the prominent trailblazers in rock, R&B, and hip-hop.

Perhaps most succinctly, in a 2021 article celebrating the LP, the Los Angeles Times declared: "In 1971, nothing sounded like Joni Mitchell's Blue. 50 years later, it's still a miracle." Nothing, indeed. Yet "miracle" suggests Blue partially owes to a divine agent or inexplicable circumstance. And though Mitchell's bracing conviction and forthright sincerity can appear otherworldly, her musical approach and lyrical storytelling is nothing if not personal and human. What we hear is pure truth — no matter how aching, complicated, or stark.

Much has been written about the circumstances that inspired the songs on Blue: Mitchell's romances; her time overseas; her disdain for celebrity; her lingering sense of loss at having given up her daughter for adoption; her treatment by the very same industry that her music made uncomfortable; her prolonged search for resolution. These situations and experiences pushed Mitchell to question everything — especially big-picture concepts that have always obsessed mankind: fulfilment, autonomy, love, honesty, being.

"I wanna make you feel free," Mitchell sings on the record-opening "All I Want." Mission accomplished. Blue is liberation — and the start of a freedom that continues to impact music, culture, and identity today.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.