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Unsettled Scores Records is proud to announce the soundtrack to The New York Graffiti Experience 1976 by Fenton Lawless.

The New York Graffiti Experience 1976 is a short documentary directed by Fenton Lawless, one of the earliest on film to capture the New York Graffiti scene. The documentary started life in 1974/1975 as a slideshow by Fenton Lawless andJustine DiIanni, the film's producer,including original photographs and backed by the song French Fry 97, which was later used for the full documentary as well as other music previously recorded in 1974 by Fenton and his band.


All the music has been previously unreleased until now so Unsettled Scores Records are beyond happy to be releasing The New York Graffiti Experience 1976 on 7" vinyl and digital download.

Killer previously unreleased mid '80s Tetrack tune finally out on road. Astute dubplate fiends may have heard this played by Rodigan back in the day, and others may know the Mighty Diamonds' later recording of the song. But the original cut is this one, written by Carlton Hines and performed by his group, the great Tetrack. Here it is in pristine quality straight from Gussie Clarke's master tapes, and mixed faithfully in style to the original dubplate cut, by Music Works' associate Curtis Lynch. Comes on the lovely "Dubwise Made in Jamaica" version of the Music Works label, which was used exclusively for dubplates cut at Gussie's original studio back in the early to mid '80s.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.

Ground-breaking afro-rock and jazz with Memphis soul roots on this lost 1972 gem. Lovingly restored and reissued by Matsuli Music


'Black Soul' from 1972 is the third and last known album by The Anchors, a soul group originally formed in Johannesburg's Alexandra township in 1968. Their first two albums, 'Soul Upstairs' from 1969 and 'Everything' from 1971, were issued on Teal's City Special label alongside other prominent South African soul groups of the era like The Beaters, The Movers and The Flaming Souls.

On 'Black Soul', The Anchors undergo a notable shift, moving away from their early Memphis soul influences towards a pioneering African-driven sound. These changes laid the foundations for an emerging afro-fusion scene in the years to come from groups like Batsumi, The Drive and Harari.

'Black Soul' features a who's who of intergenerational musicians from great South African bands over the decades. In addition to Zacks Nkosi, the renowned bandleader of the Jazz Maniacs and long-time member of the African Swingsters in the 1940s and 50s, this album includes kwela star Little Kid Lex Hendricks, known for his Columbia recordings of the late 1950s; as well as Zack's son Jabu Nkosi who would go on to play with The Drive, Roots and Sakhile; and Banza Kgasoane later a member of The Beaters, Harari and then Mango Groove.

Now remastered for its first release since the original 1972 pressing, this lost gem offers a revealing glimpse into the evolution of South African music during a transformative era.

Zacks Nkosi (Sax), Patrick Jabu Nkosi (Organ and Flute), Anderson Nkosi (Lead Guitar), Given Sabela (Bass Guitar), Kid Lex Hendrix (Sax), Banza Kgasoane (Trumpet), Peter Morake (Drums), Hamilton Nzimande (Musical Director).
Original LP issued in South Africa on GRC’s CBS label (LAB 4037) in 1972.
Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music, and Siemon Allen at Flatinternational.
Original vinyl sourced from the Flatinternational Archive.
Artwork restoration and design by Siemon Allen.
Audio restoration, mastering and lacquers by Frank Merritt at The Carvery.
Manufactured at Pallas, Germany.

CADAVER, one of Norway's first and most influential death metal bands, has carved a distinctive path through the annals of extreme music. Formed in 1988 in Fredrikstad by Anders Odden (guitar/vocals) and Ole Bjerkebakke (drums/vocals), the band emerged from the ashes of their earlier black metal project, Baphomet. Their vision blended thrash and death metal with progressive influences from bands like Voivod and the chaotic insanity of Napalm Death, forging a sound that defied conventions. In 2024, Anders Odden delved deep into CADAVER 's history, unearthing unreleased material that offers a fascinating glimpse into the band's formative years. Before signing with Earache Records in 1992, CADAVER had worked on what would eventually become their second album, ...In Pains. During this period, they recorded raw and unpolished versions of many tracks in the same studio where Hallucinating Anxiety was born. These early recordings featured working titles that were later changed, and among them was a song titled "Maltreated Mind Makes Man Manic," which was never completed at the time. Anders revisited these hidden gems at Studio Tomb, located in Råde, Norway—the very place where CADAVER was first formed. With the old lineup reunited for this session, they finished the additional recordings necessary to bring their original vision to life. The result is Hymns of Misanthropy, a newly completed album from 1991 that will finally see the light of day through Listenable Records in April 2025. This release showcases CADAVER's unique approach to extreme music and highlights their previously underappreciated influence on the early Norwegian black metal scene. With Hymns of Misanthropy, listeners can experience a raw and powerful chapter of CADAVER's history, demonstrating once again that they were never just a typical death metal band. Instead, they remain an ever-evolving force that consistently pushes the envelope of what extreme music can achieve.

'Atmospheric death metal'. Three simple words to describe one's music, chosen by JADE mainman J. himself, although they don't seem to quite pay justice to the gigantic scope of their music. Because ever since the release of their debut demo back in 2018 they've proven again and again to be more. Much more. Historically speaking, the word 'jade' referred to a rare but valuable mineral in ancient times all over the world. From Mesoamerican cultures to Chinese and Southern Asian ones, the greenstone was conferred with deep spiritual symbolism and used to connect the earthly level to the unknown. The history of countless traditions, legends and cults remain as an endless source of topics in terms of lyrics for the band, with a rich historical narrative also poetized. JADE's music is described by J. as "a tribute to the timeless obscure metal language, from early death/doom manifestations to later atmospheric black acts, in a really heavy, intense and epic form which transcends ages, as the greenstone cult has endured." The sophomore album, and second full-length after last year split LP with SANCTUARIUM, Mysteries Of A Flowery Dream carries an ominous wave of darkness, redefining heaviness with new levels of musical production and arrangements, compared by J. to "a journey into the dialogue between conscious and subconscious dreaming states and the mysteries around." The album's lyrics are in direct line of those themes, echoing the celestial world and how it can help us overcoming ominous times ("The Stars' Shelter"), how dreams can be interpreted as omens ("Light's Blood") and how they allow us to travel the Mayan cosmovision and its various worlds for guidance, healing and messages ("Shores Of Otherness"), among others. You can even find on the cover artwork elements of the ancient Mesoamerican cosmovision, mainly the powerful moon goddess Ixchel, a creative yet destructive entity, portrayed here as the Spider and threading human fate like an umbilical cord, determined to give life but also to destroy it if needed. A frightening, fragile yet utterly fascinating balance perfectly illustrated by Mysteries Of A Flowery Dream.

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

Townes Van Zandt’s eighth studio album, released in 1978, from one of the most influential figures in country, folk, and Americana music, returns with a new analogue mastering on a limited edition blue vinyl — complete with a color insert featuring sleeve notes, a rare Townes Van Zandt interview, and the full lyrics.

This reissue celebrates the album’s enduring legacy and its importance as Townes’ debut release on Tomato Records – the label run by his long-time manager Kevin Eggers. Originally recorded at Nashville’s famed American Studios and produced by Chips Moman, Flyin’ Shoes features some of Van Zandt’s finest work, including standout tracks like the heartfelt ‘Loretta’, the haunting ‘No Place to Fall’ the mystical title track, and the standout ‘Rex’s Blues’. The album also introduces ‘Pueblo Waltz’, a song that, alongside others, solidified Van Zandt’s reputation as a master of blending poetic lyricism and melancholic storytelling. In addition to its timeless tracks, Flyin’ Shoes has a unique history. Indeed, the album includes material from a previously abandoned 1973 project, 7 Come 11, that would be released years later under the title The Nashville Sessions in 1993, also available on Charly Records. Many of the songs from that unfinished album were re-recorded for Flyin’ Shoes, and these fresh takes represent Van Zandt’s growth as an artist while staying true to the raw authenticity that fans have come to cherish

Blue Sky Vinyl. Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7-inch series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7-inch vinyl.

Charlie Megira's self-reflexive final album found him far from his Beth She'an Valley home and surrounded by a new cast of Hillbillies. After spending 15 years toying with goth, sound collage, grunge, and dark wave, Boom Chaka Boom Boom is a sprawling mix of plunking country blues, Black Lodge terror, ambient montages, 17th century Lutheran hymns, and noodling spaghetti western kitsch. Deck his soul with gladness.

Legendary shoegaze band Chapterhouse will share their first ever recordings on a new EP, White House Demos, released via Sonic Cathedral on May 9.The four tracks were laid down at The White House studio in Weston-super-Mare on January 15, 1989, when the band were only four gigs old. "They were the first songs we wrote as a band," says the band's singer and guitarist Stephen Patman. "At the time our live set consisted of Stooges and '60s garage-psych cover versions which we mixed with these original songs." The tracks weren't included on 2023's career-spanning Chronology boxset because they had been forgotten about - until the intervention of Slowdive guitarist Christian Savill. He and Patman worked together in an office in Reading as their respective bands were starting out and he says the demo remains "their best record"."When the boxset was released, Christian got in touch and reminded me of these demos and how much he loved them," says Stephen. "He was probably the first person I gave a cassette copy to. He still rehearses and records at The White House and was going in for a session the following week, so I asked if he could ask the owner/engineer Martin Nichols to check if he still had them in his archive. Thankfully he did." Of the four tracks that make up the EP, `Ecstasy' has appeared in various versions and permutations on Chapterhouse compilations over the years, but never in its full eight-minute glory; a much later version of `Guilt' was included on the band's 1991 debut album and shoegaze classic Whirlpool; a version of `Die Die Die' was also included with that album on a bonus 12", and remained part of the band's live set for a while. The stunning `See That Girl', however, has never been released before. With 36 years of distance, it sounds like something of a lost classic, and the White House Demos as a whole feel like a brief moment in time captured forever.

TV Smith's first solo album reissued from the master tapes for the very first time. The Artwork has been professionally restored and packaged in deluxe gatefold gatefold sleeve with in depth liner notes by long-time fan and author Dave Thompson. Comes as a red vinyl pressing! January 1983 saw TV SMITH reunited with ex Advert Tim Cross and David Bowie's ex-guitarist Tim Renwick to record "Channel 5" in Wickham studios in Croydon. 3 weeks later the album was completed and scheduled for a June release. "War Fever" was earmarked as the first single but at the time the country was fighting a General Election with the card of the Falklands war victory played by the ruling Conservative Party, and as a result the single vanished without trace.

After several solo-releases on the label, Dauw welcome back Taylor Deupree and The Humble Bee for their first collaborative album to date: »Re: Case Studies«.

While most collaborative albums are intentional from the start, this one almost never came to fruition and was born rather out of a fortunate coincidence. A few years ago, Taylor Deupree created a series of compositions entirely based on feedback loops, which nearly made their way out as solo work. However, while these abstract pieces felt complete, they also felt unfinished to the artist. After some discussions with the label, he decided to invite someone to bring them to life and finish what had been sitting in the drawer for a long time. Enter The Humble Bee. A few months later, Craig Tattersall sent his musical response. While the echoes of the original remain, »Re: Case Studies« stands entirely on its own and represents a full-fledged collaboration.

Freddie Gibbs and Madlib release their new album, Bandana, via Keep Cool/RCA Records and MadlibInvazion/ESGN. The album includes previous releases "Flat Tummy Tea," "Crime Pays," and "Giannis" featuring Anderson. Paak. The album is the pair's follow up to their 2014 critically-acclaimed debut Piñata, and includes additional features from Pusha T, Killer Mike, YasiinBey, and Black Thought.

The duo's seamless collaboration juxtaposes two giant talents: Madlib,the prolific producer with a record collection spanning all genres and eras, an adept sampler, peer to the late J Dilla (his collaborator on Champion Sound and his musical soulmate), foil for DOOM, hip hop's Charlie Parker, with whom he created the landmark album Madvillainy. Freddie Gibbs, the gravel-voiced braggadocios rapper, a vocal athlete, a star-on-the-rise knocked off course who refused to give up and has since offered some of the most compelling rap music in the past ten years.



On Piñata, Madlib offered Gibbs, then a gritty street rapper from Gary, Indiana, a chance to expand his captivating storytelling, giving him the dramatic backgrounds for his brutally-honest, soul-scraping lyrics. As a pair, Freddie and Madlib exude a natural chemistry and craft an alchemical music, appealing to everyone on the hip-hop spectrum.



Freddie Gibbs and Madlib are also set to play a string of shows in the U.S. and Europe this summer, which kicked off earlier this week with a sold-out, two-night residency at The Roxy in Los Angeles. They're set to play at MoMa PS1's Warm Up series in New York, Paredes De Coura Festival in Portugal, and Made in America in Philadelphia later this summer before heading off to Europe again in the Fall. Additional dates to follow soon.

It's been a long time between drinks for German band Bambi Davidson. "Brunswick", their first outing on Claremont 56, is their first recorded output for 15 years.
It's something of a triumphant return, too. Last time we heard
from them, back in 2000, they were a 'post minimal rock'
duo comprising of guitarist/vocalist Robin van Velzen and
drummer Hans Christian Fuss. A decade and a half of live
improvisation and a multitude of collaborations later, they
return as a Balearic rock four-piece. The band's newest
members, former Mountaineer man Frank Mollena and Sofia
Fuss, were asked to join following a particularly successful
series of live collaborations and improvisational jams.
"Brunswick", the first track from their soon-to-be-released sophomore set, is particularly special. It´s a 13-minute shuffle
through Balearic post-rock territory, with Van Velzen's weary,
emotional vocals riding a wave of vibrant colours, backwards
Hazy, intoxicating and evocative, it sounds like a horizontal
anthem in the making.
One sided, hand numbered, limited to 500

Psycho Bummer is thrilled to present our latest release from QUAAD, a leading figure in Seattle’s emerging jungle scene and, in our opinion, one of the finest tracker enthusiasts out there.

Made on an Amiga 1200 with Octamed, QUAAD's “PAULA EP” is a nod to the Amiga's revolutionary sound chip of the same name, as well as a love letter to the primitive sampling techniques and demoscene aesthetics that the Amiga is famous for.

PAULA’s characteristic grime and grit is evident on tracks like EP opener “King Russ”, which cuts up a gorgeously degraded smooth-jazz sample across lethal amen chops and brutal subs. Likewise, the absurdly heavy drop of “Gone Postal” is offset by QUAAD’s particular sense of humor, striking a balance between caricature and dancefloor devastation. “Erb Man Dub” and “Van Nuys Crew” round out the EP, the later switching up the intensity for a more laid back R&B vibe, hinting at QUAAD’s versatility.

First-time vinyl reissue of cult UK dance classic.

One of the cult acts of the heyday of London clubland in the early 1990s, the Ballistic Brothers consisted of later-X-Press 2 members Ashley, Rocky and Diesel, alongside David Hill and Uschi Clansen. After the success of underground smash ‘Blacker’ and ‘vs. Eccentric Afros Vol. 1’, The Ballistic Brothers returned with the second volume of their sampledelic good times with ‘Vol. 2’. The group came armed with years of dance floor expertise, and record making acumen, and delivered a further 8 tracks of good time funky grooves.

The opener ‘Delancey Street…The Theme’ paid tribute to their Camden-based record label and was an immediate anthem, while ‘Goodvibes…Goodnight’ was an irresistible mash-up. Elsewhere are jazz, funk, reggae influences and images of the streets of New York.

A vital snapshot of a very unique place in time, specially remastered for this Acid Jazz release, set in a spined sleeve for the first time, with a beautiful expansion of the original artwork

Listeners will drift through soundscapes with even greater expanses than before as Geir Sundstøl releases his new album, Sakte Film,. This marks Sundstøl’s sixth solo album on Hubro and his tenth anniversary as a solo artist. Geir Sundstøl has had a rich and varied career, to say the least. Within the HUBRO universe, his music has remained a pillar for years, and Sakte Film is no exception. However, this release embraces a broader scope, with multiple layers of strings that create even more room for resonance and exploration. Sundstøl explains: - What sets this album apart from my previous ones is, first and foremost, the string arrangements. Erik Sollid, Sunniva Shaw, Håkon Brunborg, and Mari Persen have contributed with violin, viola, and cello, adding a new dimension.
Geir Sundstøl(born in 1969) is a Norwegian musician who plays a wide range of string instruments, including the marxophone, acoustic guitar, electric guitar, mandolin, pedal steel, bouzouki, lap steel, banjo, and dobro, as well as harmonica and various keyboards. He is a highly sought-after and respected session musician and was awarded the Gammleng Prize in the studio category in 1994. In 2015, he released his first album under his own name, Furulund, which was nominated for the Spellemann Prize in the open category. He later won the Spellemann Prize in 2018 for his third album, Brødløs

DESCRIPTION
Looming above Hastings on the South Coast of the UK, carved into East Hill, three black shapes are visible from a distance. Mysterious and ominous, they assume the aspect of the entrance to a church or a portal to dimensions unknown. Closer inspection however reveals them to be no more than mere follies carved and painted into the rock, as hoaxster John Coussens sought to convince visitors that an elaborate subterranean kingdom lurked within. Centuries later, this coastal town remains a place that serves as a magnet to the wyrd and the mischievous. And it’s here that the meeting of minds took place that led to 'Folly' - the second release for Rocket’s Black Hole series - an imprint focused on the unorthodox, otherworldly and esoteric. The journey that led to ‘Folly’ began in the dingy cellar of a wine bar in the town. Black Arches formed around a regular local experimental night in such environs aptly named Weird Shit, initially as a freeform musical outlet for author and musician Gareth E. Rees’ later incorporating Matt Frost from his garage rock troupe The Dirty Contacts, and frequent collaborator James Weaver, to form a vehicle for wild experimentation and psychic abandon. Given he was also a regular attendee, it was no surprise when Sexton Ming, arch maverick outsider artist and uncompromising iconoclast of over four decades standing, entered the picture. Soon after a perplexing but serendipitous chain of events took place, with demons conjured up via improvised sessions, poetic licence taken, dystopias chronicled, audio files gone awry, vocals overdubbed and laptops lost, Somehow amidst the sturm-und-drang ‘Folly’ was summoned in all its murky glory. As we embark on the second quarter of an uncertain century, just maybe this psychic travelogue is a dark prism to make sense of the chaos we confront. Whichever, it remains a spectacle as compelling as that by which Black Arches were named

Mutant, in partnership with Back Lot Music, are proud to present the premiere physical release of Benjamin Wallfisch's incredible score to the 2025 Wolf Man. Leigh Whannell (Invisible Man, Upload) continues exploring the classic Universal monster series, and with Wolf Man hw again teams up with composer Benjamin Wallfisch for the score. Ben's score evokes the lush classic sounds of the original 1940s movie. It's a beautifully light score featuring incredible orchestration, evoking the mystery within the woods. The score is scary and brutal but also delicate and human when necessary. It's evocative and rich and helps add grounding to this very contemporary telling of this tale.

The Crippled Flower was a post-punk band from Düsseldorf - and they arrived late. However, unlike many young, unsuspecting, hairsprayed hopefuls from that time, in 1985 they could sense that the end of their era was approaching. They knew too much to want to take the world by storm. They were four individualists searching their own way. Each of the band members only found their calling after the time that they had spent together – but that's exactly what makes The Crippled Flower still seem really interesting today, this static energy that does not discharge, but is simply there.

Searching dreamers should sound like that and that's what they were. Singer Phil Elston, for example, had brought his love of Kraftwerk from England to Düsseldorf. Even his bandmates found this strange, but they were also entangled in their own longings. This is because the times were still so crazy and these searchers were "on fire". A fire that glows in the band's recordings.

Listening to the songs today, The Crippled Flower sound like they are hugely at the height of their game; think of Wire, Felt, Scritti Politti or Minimal Compact. The variety of musical themes, as well as different soundscapes, which the band created can only be listened to in amazement. Often, it is only Phil Elston's Sprechgesang that confirms that this is really the same band. However, it was back in 1985 when, importantly, the catalyst that brought the musicians together - the short lived eclectic record store "Heartbeat" in Düsseldorf Bilk - occured. It was there where post-industrial and pop, melodic minimal music and sound attacks awaited those who wanted to discover music by artists and bands they did not yet know.

Cassette releases. All recorded on 4-Track. The Crippled Flower succeeded in this medium. Firstly, with a cassette just entited The Crippled Flower, working from project-like studio recorded sketches. Four more tracks from the short-lived band appeared in 1986 on "A Heartbeat Rendezvous“. A demo tape submitted to Les Disques du Crépuscule, however, did not lead to a worldwide career and so, unfortunately, it was soon over.

Stefan Krausen moved on to the follow-up project Deux Baleines Blanches with Stefan Schneider, which, in 1994, gave rise to the band Kreidler. Krausen was already drumming with the I-Burnettes on AtaTak and much later he studied painting in Munich. Nina Ahlers moved from Düsseldorf to Paris to study art, because in the 80s it was still the case that Paris was the destination of choice for those really wanting to become an artist – and that's what she did. Her work is characterized by a non-academic minimalism focusing on everyday objects. Stefan Schneider remained connected to music. Only Phil Elston, who helped sabotage fox hunts in England and wrote these observant lyrics about environmental destruction and time travel, seems to have escaped the social-media world. Whether he found Kraftwerk-fulfilment in Düsseldorf or moved on disillusioned remains a mystery to us. And somehow this also fits in with that peculiar, special band. - Oliver Tepel, Köln 2025 (Translation by Philipp Elston)

Hackney singer-songwriter Mychelle debut album Good Day is set for release on April 30 via FAMM (Maverick Sabre/Jorja Smith).  In her own words "This album is inspired by the music I love to listen to, with lyrics that helped me release what wasn’t serving me.‘Good Day’ is my way of saying goodbye to the chapters in my life that created bad days.I’m incredibly grateful for every single person who played a part in bringing ‘Good Day’ to life, and for those who continue to help push it further. I’ve really enjoyed the entire process.Thank you, and have a ‘Good Day’. Raised in Stoke Newington, Mychelle grew up surrounded by music and first picked up a guitar at 10. Years later, she overcame her shyness through busking—spending over four years performing on London’s streets, where her raw and soulful delivery caught the attention of FAMM, leading to her signing.
Since her debut The Way (2021), Mychelle has released standout EPs, including Closure (2021), Someone Who Knows (2022), It’s Not You, It’s Me (2023), and Me & Gaz (2024). Her collaboration with ENNY on Forbidden Fruit has nearly 2.5 million plays, proving her ability to connect deeply with audiences. Having performed at Montreux Jazz Festival, Boardmasters, Deershed, and Michael Kiwanuka’s tour, Mychelle will soon join Jorja Smith on her UK & ERIE tour and take the stage at Across The Tracks and Mad Cool Festival in Madrid, promising an exciting summer of live performances. Beyond music, she thrives in movement—whether on the basketball court, football field, or running track—infusing energy and passion into everything she does. Good Day marks a bold new chapter, showcasing her evolution as an artist and her unwavering trust in her craft.

Hate, who formed in Warsaw in 1990, have been hailed as a “hallmark of consistency,” and praised as a “sleek and tight death metal monster.” Since 2017’s Tremendum, Hate has focused on nature and its mysteries as a main source of inspiration. For instance, 2019’s Auric Gates of Veles focused on death, the Slavic perception of death in particular. Six years later, Bellum Regiis finds Hate delving into “humanity and why are we, as creatures, so deeply motivated by concepts like power, wealth, glory and faith. The main theme is a struggle for power and everything that comes with it.” Hence the album title Bellum Regiis, which translates to "A War of Royalty" or "A War of Kings."

Their 1990 debut, the first time on vinyl since the 1992 Big Cat reissue. Remastered.

Limited edition in blue vinyl for RSD2025.

The New York noise band with two bassists who later signed to Interscope.
After their split in 1996, main man Tod A formed Firewater, who released seven albums.

Manolis Pappas writes: "Coming from Thessaloniki, but currently residing in Athens, Savvas Metaxas presents "Feedback Poetics", a study in ambient, minimal electronics and feedback drone, revealing a work of compelling compositional clarity. "Feedback Poetics" was recorded during a long improvisational night, with most of the piece captured in a single take. Later, a few additional sounds were added. Recorded using the Lyra-8 synthesiser by Soma Electronics and the Lemondrop granular synthesiser, the album weaves intricate sonic patterns into a meticulously crafted soundscape. The idea behind this recording was to create a long, meditative piece, captured entirely through headphone monitoring. The title reflects the experience of listening to these sound frequencies dancing around the listener's head. Metaxas, known for his output on esteemed labels in recent years and co-founder of Dasa Tapes and Granny Records, offers a work that resonates with the intimacy of a private live performance, yet possesses a refined and considered structure befitting a carefully curated cassette documentation." – Manolis Pappas/Coherent States.

Listen to This.” As the original working title for Bitches Brew, the instruction and invitation remains to this day as the best way to approach a record that shattered conventions, altered music history, and, 55 years later, still sounds far ahead of its time. The template for jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity’s UltraDisc One-Step 180g 33RPM 2LP vinyl set.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle. There, he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Benefitting from the ultra-low noise floor and superb groove definition of this pressing, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint canvases laden with millions of colors and shades. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew set call attention to such matters. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. It is made for discerning listeners who desire to fully immerse themselves in everything surrounding the album, from the images to the tones. And this is one effort where every last detail matters.

Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to “put together the greatest rock and roll band you ever heard.” Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.

A without-a-net experiment involving interchangeable double-quintet lineups, Bitches Brew explores the previously unimaginable with electrified instruments — Fender Rhodes piano, processed trumpet, dissonant guitars, and bass among them — and an emphasis on feeling over composition. Mesmerizing and soothing, jarring and smooth, overt and subtle: The music seemingly covers an entire map of emotions and sensations, and like no record before, ties together the groundbreaking creativity of the multiple disciplines that were changing popular culture at the end of the 1960s and dawn of a new decade.

Conceptually, Davis described Bitches Brew as “a novel without words” and “an incredible journey of pain, joy, sorrow, hate, passion, and love.” The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles Davis used to conceive Bitches Brew.

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.

Dateline: April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context: Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter’s home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180g 33RPM 2LP set helps bring what went down that spring evening in Bill Graham’s venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late ‘90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. The wait is worth it.

Benefitting from quiet surfaces and excellent definition, these LPs present the band’s livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At its core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. The sense of release and reach conveyed by these carefully restored records make it clear the veteran bandleader was in the process of a permanent shift that he’d chase for the next five years.

Given Davis was only a few months away from releasing the pioneering double album Bitches Brew, it shouldn’t come as a surprise that much of the fare here adheres to similar explorative approaches. Turbulent rhythms, provocative trumpet passages, and rich, saturated tonal colors that seemingly splash against a blank canvas take precedence over any traditional attempts at organization and melody. Davis and Co. intentionally play everything on a line with the bandleader signaling changes with his horn via coded phrases. The group speaks a common language — with each member having gone to achieve iconic status for their career contributions and technical prowess.

In the company of Grossman, Chick Corea (piano), Dave Holland (bass), Jack DeJohnette (drums), and Airto Moreira (percussion), Davis constructs themes around “Directions,” “Miles Runs the Voodoo Down,” “It’s About That Time,” the title track to Bitches Brew, and more from his then most-recent studio works and the in-progress Jack Johnson. His farewell to the popular standards that for nearly two decades remained a part of his repertoire arrive via a brief dalliance with “I Fall in Love Too Easily,” a shortened albeit aggressive “Masqualero,” and the “Theme” finale of “Spanish Key.” Initially, Black Beauty lacked specific track listings due to Davis’ increasing frustration with listeners over-analyzing his music.

In retrospect, it’s difficult to blame anyone for wanting to view what’s on display here with the aural equivalent of a magnifying glass. Leaning in rock directions, yet maintaining an ear for spaciousness and solos, Black Beauty survives as a snapshot of a thrilling moment amid a transitory period in which evolution came fast and furious. Just two months later, Davis would add another instrumentalist to the lineup in the form of organist Keith Jarrett, and the perpetually restless visionary would blast off to a more atmospheric and arguably more chaotic universe.

Consider, then, this live document a bridge to that galaxy and a breathtaking example of the possibilities of jazz itself.

David Janeway’s 1986 independent release Entry Point is a gathered and stylish offering of fusion jazz, flitting between Latin, modal and spiritual themes. Featuring desirable cameos from the likes of Bob Berg, Steve Berrios and Marcus Belgrave, the album comprises seven tracks, six of which are original Janeway compositions.

Self-released in 1986, Entry Point didn’t initially make a splash and fell into relative obscurity, only to be discovered by rare jazz collectors and dealers many years later. Upon contacting David with a view to potentially reissue Entry Point, he revealed that he had original sealed copies of the release in his possession – a record which has commanded high prices in jazz dealer circles. We have exclusively imported the last of the original stock: what you’ll get here are original, sealed copies from 1986, pressed up on David’s New Direction label. They are all in mint condition, sealed in their original shrink wrapping, and extremely limited in quantity, with only forty copies in stock.

Entry Point is a beautiful album full of outstanding musicianship, dedication, craft and audible passion, informed by the many diverse musical stylings of its time and gathered by the overarching sonic maturity and discipline of jazz. A true classic of its ilk, and a one-of-a-kind album that is an absolute must for any discerning jazz collector, a newly discovered gem that is long overdue recognition for the outstanding piece of work that it truly is.

David Janeway is an extraordinary pianist with a great facility and wealth of ideas. He exhibits maturity and depth in his playing. He has most definitely “ARRIVED”. ~ Eddie Henderson

"“I Know It’s Too Late” is an unreleased track from Scott Weiland’s 2008 solo album, Happy In Galoshes. The B-side is a live version of “Missing Cleveland” recorded on the Happy In Galoshes tour in 2009. This is the first in a series of RSD exclusive 7” singles leading up to a full deluxe album release with additional bonus content. This album has never been available on vinyl.

2025 is the 10th anniversary of Scott’s passing. Primary Wave is honoured to release this unheard content to celebrate his music and legacy. Happy in Galoshes is the second solo album by Scott Weiland - known for his roles as the lead singer in Stone Temple Pilots and Velvet Revolver. He released his first solo album, 12 Bar Blues in 1998. Ten years later, Happy in Galoshes served as the official follow-up. The album was released November 25, 2008, on Weiland's own Softdrive Records. Produced by Doug Grean and Weiland, with select tracks recorded by Steve Albini, the album features guest appearances by Paul Oakenfold and No Doubt members Adrian Young, Tony Kanal, and Tom Dumont. Oakenfold appears on a cover of David Bowie's "Fame".

FIRE UP: Fifteen successful releases later, Anetha continues to fan the flames with MTY-FEU, an incandescent new compilation. Titled «Ils s’embrasèrent, réduits ensemble», the release stands for fusion and oneness.



Bursting from the depths of the earth, magma is devouring: melting hot techno, deep techno, fast techno, firestorms of trance, eruptions of hard groove, break, mental, smoldering experimental… MTY-FEU is a lava flow of boiling, vital energy, unstoppable and full of blistering textures.



During the Nuit Blanche (A1), we surrender. We, the offer. Our fire is combusting. Our feet, stomping.
Berserk, in a fury, there’s No End (C1) to this party. In a trance, Eternal Echoes (E2) beguiles us all, until we become one into the Molten Core (H2) of Inferno. Ils s’embrasèrent, réduits ensemble.

The incredibly talented visual artist FEMUR crafted the artwork by creating an AI-generated meta-crackle of fire. Diplomatie Studio handled the design while mastering was entrusted to Sixbitdeep, except for Anetha’s edit, where mix and mastering credits go to Le Dom. We’ve opted for bio-vinyls for this release, knowing that one day these records will return to ashes, only to rise again, like the phoenix.

Remastered reissue of the orginal Hemi-Sync EP by Speedy J alias Public Energy. With the anthemic, and arguably one of the best tracks ever to come from the little silver box, Three 'O Three!!! Hemi-Sync and B.S.G combine the harder side of early 90's Chicago / Detroit sound aesthetic with the first hints of where Jochem would go with his music in the later 90's. First released on +8 sub Probe Records in 1992. This one was due for a re-issue.

Vilhelm Hasselgren is a Gothenburg-based producer and DJ with a focus on Jungle and productions that move between 160-170 bpm. Vilhelm focuses a lot on complex rhythms and ambient soundscapes and takes inspiration from both older and modern Jungle, as well as other electronic acts such as Basic Channel, Mala, Skee Mask and Arkajo. Vilhelm tries to create soundscapes that move between different musical starting points.
He has previously released on Rezonant Body, Canape Records, Bukva Sound and Of Paradise Records. Also has an upcoming EP releasing on Bukva as well as a V.A on Western Lore. In 2025, Vilhelm also has a residency at London-based Subtle Radio.

Vilhelms words:
Central Line EP is an EP that I'd myself consider to be my debut EP. The tracks were created within a two-and a half year span, with some tracks being re-worked and replaced. Later ending up with the final track-list, which I am very happy in how it ended up in the end. One of the tracks that were later added onto the EP being 1000 a co-production with my brother Einar (Local Arms), which we spontaneously recorded at our parents house over a weekend.

I mostly start from percussion, onto bass and later melody in my productions. The title track "Central Line" was started when I lived in Brighton for half a year, together with Theo Soderlund (Theomega). The Eski sample is a bit tricky one, but wanted to experiment with it, further I chopped an Amen and a Think break with an idea to create a pretty simple rhythm that could leave the riff to speak for itself. Even though the tracks were created within a pretty long span of time, I feel like they portray a sound that I want to further explore and produce at this point. Also Arcne adding a monster remix of Central Line that has been getting lot of love. Could not be happier to release it on Bukva Sound which prior releases I think really captivate a sound that has been really inspiring throughout the process.

Norman Westberg (guitar), Giridhar Udupa (ghatam, konnakol, khanjira, percussion) and Jacek Mazurkiewicz (double bass, electronics)An extraordinary meeting of three artists from three different musical worlds and three different continents. Norman Westberg (ex-Swans) and Jacek Mazurkiewicz have already released one album together "First Man In The Moon" in 2021 (published by the Swiss label Hallow Ground).In the new project, they are accompanied by Giridhar Udupa, an Indian master of ghatam (a clay percussion instrument that looks like a jug). The album will feature 3 long trance compositions, referring to ambient, krautrock, free jazz and Indian music.Jacek Mazurkiewicz describes the creation of this album as follows:"I met Norman Westberg while supporting the Swans tour in Poland as 3FoNIA. A few years later, during Norman's tour with Gira, we recorded a duet.The trio session took place similarly to the previous duet session during Norman's solo concert in Warsaw on the Swans tour.Recorded with Adam Toczko, a quick meeting on a day off from work.I invited Giridhar Udupa to the trio, whom I had met earlier during the period when I co-founded the band Limboski. I once invited Wacek Zimpel to play a few concerts with Giridhar. Wacek later created Saagara and I was wondering about some unusual musical context in which I would find myself with Giridhar. I was looking for an interesting sound configuration, but also a cultural one, with a different approach to creating music. I got the impression that for both Norman and Giridhar it was a fairly fresh meeting, not obvious. And on the other hand, ordinary - everyone did their own thing."Detroit guitarist Norman Westberg moved to New York in 1980 and became a part of the experimental music scene that was experiencing its golden age. Westberg himself became a permanent fixture when he joined the iconic avant-rock band Swans in 1983, and was the only member other than frontman Michael Gira to play with them for most of the band's run, both until their 1997 disbandment and his return in 2010. Westberg has also been involved with other legendary New York noise-rock acts, including Jim Thirlwell's Foetus and the post-Swans Heroine Sheiks, in which he played with Cows frontman Shannon Selberg; and in 2014, he joined the noise-rock supergroup Hidden Rifles, whose members included Mike Watt of Minutemen and Mark Shippy of U.S. Maple. Westberg's solo compositions, most often for solo guitar and a set of effects, draw on drone and post-minimalism, bringing to mind dark ambient passages from Swans albums.Giridhar Udupa is an extremely valued teacher and world-renowned artist, an Indian master of ghatam (a clay percussion instrument that looks like a jug). He was born into a family with long musical traditions. He began learning to play at the age of four, guided by his father. At the age of twelve, he already had his first performances behind him. He currently gives concerts alongside the greatest masters. He has received many prestigious awards. He performs in the USA, Spain, Canada, France, Switzerland, Germany, Oman and Kuwait. Giridhar Udupa is a member of the band of the Indian vocalist Bombay Jayashri, nominated for an Oscar for the best song for the film Life of Pi. He is one of the founders of the Layatharanga band. He also plays virtuoso other traditional instruments of South India, such as mridangam and kanjira, and is excellent at using the konnakol technique (a type of rhythmic vocalization).For three decades, the artist has been a global ambassador and icon of Carnatic music. He is the founder of The Udupa Foundation, a charity organization established in 2015 to promote Indian music, performing arts and culture. He has participated in recording dozens of albums. He is also well-known in our country thanks to his cooperation with Polish performers, which resulted in excellent artistic effects, such as the famous Indialucia - Michał Czachowski's group / project or the Saagara formation, led by Wacław Zimpel. Udupa also played on the album Lechoechoplexita, released by Leszek Hefi Wiśniewski, and on the album of the band Layatharanga, released in our country.Jacek Mazurkiewicz is interested in music in the broad sense. He puts his sounds together based on emotional impressions and pulse. Combining acoustics with electronics, he is constantly looking for a new sound. Solo as 3FoNIA, in a duet with Mikołaj Trzaska or Tomek Dąbrowski, the JMB trio with Wojtek Jachna and Jacek Buhl, in the Modular String Trio quartet, the Afrobeat quintet Faso Tamala are just some of his musical incarnations. With Patryk Zakrocki, as part of an audio mission, he massaged hundreds of pairs of ears in the Inner Ear Massage Office. He also deals with sound design, composing and producing music for films and theatre performances. He collaborated with many Polish and foreign artists.

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

This April, Jessie Wagner releases her long awaited second solo album, “War Within”
on Little Stevie Van Zandt’s Wicked Cool Records. Jessie is a true multi-talent. She is a vocalist, songwriter, actor, model and dancer who possesses a unique worldview which she shares via her very personal songs.
Many of Jessie’s current fans know her best as a featured vocalist with some of the best known and most loved names in music. She launched her career within a year of moving to New York when she became a member of the world renowned disco group Chic, with Nile Rodgers. Jessie played to sold out crowds at London’s famed O2 Arena with Chic and then later on, with Kid Rock, with whom she also performed at the Grammys. Jessie then got to tour with her personal rock idol Lenny Kravitz and is featured in his tour documentary, “Just Let Go”. She performed with Stevie Nicks and Robert Plant at the Montreux Jazz Festival and sang on the platinum selling album “Rock and Roll Jesus”.

"The album was created in this back and forth of snapshots - we made most of the decisions impulsively without much questioning. That takes a lot of trust." — Violeta García & Hora Lunga

"I'll Wait For You In The Car Park", the first full length collaboration between Argentinian cellist, improviser and composer Violeta García and Swiss musician and composer Hora Lunga, is a work of extremes. Drawing from the realities of life on two continents, and embodying moods ranging from stoic desire to violent bursts, the album enciphers so-called ordinary moments from everyday life into an alluring collection of musical scenes. Seemingly inconspicuous moments are condensed into a tale of synchronicity: colliding time zones and seasons, metropolitan rhythms raining down onto a glacier's ice field, exploring places through street view, the serendipity of loitering at a kiosk. As such, "I'll Wait For You In The Car Park" brings documentary film essays to mind that carefully observe the private and everyday occurrences.
Violeta García and Hora Lunga crossed paths by chance in 2023 and began discussing and sharing music shortly afterwards. What started as a loose exchange of ideas, sending back and forth sketches and demos between South America and Europe, grew into several studio sessions in 2024. Being sucked into a "quite extraordinary flow", the two musicians recorded, arranged and intervened on a level playing field, using the studio as a playground to record musical layers and interweave them with field recordings and audio notes gathered over the course of a year. Speaking a kindred musical language, they quickly realized how their ideas clung to each other like two familiar souls, complementing, intertwining and merging. From gauzy and eerie textures, musical miniatures floating through time, howling and screaming strings, to tumbling and thundering basses – the sound of the ordinary shapes a body that vibrates, writhes and breathes.

Violeta García is a cellist, improviser and composer from Buenos Aires, Argentina. Based in Spain, she tours a lot with her band Blanco Teta. She is a performer in many art forms, including free improvisation, contemporary and trans-media experimental repertoire in violoncello and electronics and collaborations with dancers, film makers and visual artists. After years of studying classical and popular music on violoncello and, later, contemporary composition and improvisation, Violeta has developed her own musical voice needed to emerge beyond outside specific genres.

Throughout Swiss composer and musician Hora Lunga's work, the focus lies is on exploring boundaries, both musically and in terms of performance and content. Above all, genre designations lose all meaning, as the music always takes place within a dramaturgically conceived overall framework. In recent years, his projects have ranged from pop music productions to experimental works and sound performances, as well astheatre and film productions. His ensemble WIRREN consists of up to fifteen performers.

"Movements of Air" is the highly anticipated fifth album from Daniel Herskedal's acclaimed trio, featuring Eyolf Dale on piano and Helge Andreas Norbakken on drums and percussion. Marking his tenth remarkable release with Edition Records, this album seamlessly bridges his foundational trio debut, "Slow Eastbound Train," with previous masterpieces like "The Roc" and "Voyage."

Over the past decade, Daniel Herskedal has consistently pushed the boundaries of the tuba, crafting music that is both profoundly introspective and expansively cinematic. At its core, "Movements of Air" delves into themes of hope, the pursuit of a better future, and the very essence of musical creation. With masterful performances from all members and intricate compositions, Herskedal navigates the delicate balance between good and evil, war and peace. Tracks such as "The Olive Branch" and "Peace River Crossing" showcase his ability to create emotionally resonant soundscapes, while pieces like "Elements of Harmony" and "Harmonic Allusions" highlight his innovative approach to harmony and texture.

This album stands as a testament to Herskedal's extraordinary talent, transcending the traditional limits of his instrument to deliver music that is both emotionally compelling and artistically groundbreaking.

Daniel Herskedal's exceptional achievements further underscore his artistic prowess and versatility. His notable arrangement of"San Francisco (Be Sure to Wear Flowers in Your Hair)" for the 2019 film "The Last Black Man in San Francisco," produced by Brad Pitt, was later featured in Coca Cola's global 'Open Like Never Before' advertising campaign. His extensive collaborations include performances with prestigious ensembles such as the BBC Concert Orchestra, the Royal Norwegian Navy Band, and the Russian Patriarchate Choir of Moscow. His collaborative project with Marja Mortensson won the Norwegian Grammy in 2019, and in 2021,he secured The Ambies Award for Best Original Score and Music Supervision for the podcast "9/12." Additionally, his work with artists like Keaton Henson and Emilie Nicolas on their album "Out of the Fog" further highlights his versatility and collaborative spirit.

Lisbon-based producer & DJ, Helder Russo is a standout figure in Portugal's electronic music scene. Helder's work has gained acclaim since his early releases on Groovement, Tomorrow Is Now, Kid! & most recently, Percebes.

His 2019 release 'Onfrico' & the 2021 anthem 'Cascalho' showcased his unique blend of Chicago House, Detroit Techno, London-inspired breaks & rich African influences. As a true ambassador for Portuguese dance music, his music is highly regarded.

Now, Helder presents his debut album 'Nha Joia' (Creole for 'My Jewel'), a heartfelt tribute to his beloved mother. This collection features the 80's cop show inspired 'Parsley park', the infectious 'Whippit', the emotional 'Nha Joia', the Outkast-reminiscent 'Muscanite', the futuristic techno soul of '11.22' & the gritty 'Badio' & 'Sampa'.

This album is brilliant, honest, & complete - Recommended for fans of Carl Craig, Underground Resistance, Larry heard, Kamasi Washington & Thundercat. Sleep now, cry later.