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As funny as it may sound, Anaïs Mitchell has spent the past 15 years in some kind of hell. OK, not actual hell, but the multi-faceted world of Hadestown, a musical project she began in Vermont in 2006 that has grown into a Tony®- and Grammy®-award-winning Broadway phenomenon with touring editions now delighting audiences as far away as South Korea.

“I experienced so much joy working on Hadestown, but it just kept ramping up and up and requiring more and more attention,” Mitchell admits. “I had to become so single-minded and really put blinders on to my other creative life.” As it did for many artists, the COVID-19 pandemic unexpectedly offered Mitchell a blank slate to reconnect with her own music. The result is a new self-titled album made with close collaborators from Bon Iver, The National and her own band Bonny Light Horseman, Mitchell’s first collection of all-new material under her own name since 2012’s Young Man in America.

“I was nine months pregnant when the pandemic reached New York, so we made an 11th hour decision to leave and have the baby in Vermont,” Mitchell recalls. “We left the city and had the baby a week later, and then like everyone, we were in the midst of this unprecedented stillness. It felt like I could see behind me: oh, there’s New York City. There’s Hadestown. There’s my life with just one kid. A certain kind of stress and expectations. In Vermont, we moved onto my family farm and lived in my grandparents’ old house, with a new baby. I’d look at pictures on my phone from a few months earlier and wonder, whose life was that? This record, and the songs that are on it, came out of that time. I got into a flow again that I hadn’t felt in a really long time.”

Dubbed by NPR as “one of the greatest songwriters of her generation,” Mitchell is a master of the worlds of narrative folksong, poetry and balladry. Those talents are evident from the first moments of the new album, as Mitchell narrates what she calls “an unbearably romantic” trip over the Brooklyn Bridge colored by Bon Iver member Michael Lewis’ heartstring-tugging saxophone accompaniment. “Having left New York, I was able to write a love letter to it in a way I never could when I was living there,” she says. “It was like, fuck it. This is how I feel. There is nothing more beautiful than riding over one of the New York bridges at night next to someone who inspires you.”

Produced by Mitchell’s Bonny Light Horseman bandmate Josh Kaufman, the album proceeds to chronicle Mitchell’s reconnection with the Vermont roots that have been so formative in her life and music. “Bright Star” finds her making peace with the idea of being at peace in the familiar setting of her grandparents’ house, while “Revenant” was inspired by paging through a box of journals and letters belonging to herself and her grandmother — “a very pandemic activity,” she says. “That house is literally my happy place. I can picture myself as a kid, in this house, laying on the carpet with a sunbeam coming through the sliding glass door. There’s something about it that is really connected in my mind to my childhood and a very free, imaginative, creative time. “Revenant” has a lot to do with that house and reconnecting with my childhood self.”

Mitchell concedes that she tends “to be someone who thinks it has to be hard in order for it to be good or beautiful,” but that feeling has changed, partly thanks to her deep connection with musicians she’s met through the 37d03d collective established by The National’s Aaron and Bryce Dessner and Bon Iver’s Justin Vernon. During the pandemic, some of those artists participated in a “song a day” writing group — an idea Mitchell says is usually “totally opposite of how I roll. But it really helped me to gain access to some kind of trust and intuition and flow. I began a bunch of these songs while doing that.”

“It unlocked something that allowed me to finish a bunch of songs I’d been sitting on, and feeling a bit paralyzed about how to finish them,” she continues. “Because no one was touring, it’s not like I was playing them for anyone before we were in the studio. In other times, I’ve trotted things out in advance. Here, it was like, here’s all these brand new songs. Let’s discover what they can be. That was really exciting.”

That discovery process took flight at Dreamland Recording Studios outside Woodstock, N.Y., which Mitchell describes as “this weird, janky, beautiful church - it’s my favorite studio in the world.” Kaufman, Lewis and Big Red Machine drummer JT Bates formed a core band around Mitchell, while Aaron Dessner and Thomas Bartlett joined the sessions mid-week on guitar and piano, respectively.

After the appropriate COVID tests came back negative, “it was a pretty extraordinary feeling to hug, kiss and share the same space playing together,” Mitchell says. “We went into that world for a week and didn’t leave the studio for any reason. I felt very safe with all those guys. It was warm and joyful.”

Mitchell says this environment brought out unexpected details in the material, which was recorded almost entirely live together in the room. “Sometimes we tried separating things out, like vocals, but we always ended up back in the room together,” she says. Indeed, after spending the better part of a day recording overdubbed versions of “Little Big Girl” that nobody loved, the musicians gave up and tracked it again live. “We got so frustrated that we went in and I was like, I’m just going to sing this as hard as I fucking can. It felt like that’s what the song wanted to be,” Mitchell says. “It felt like all those songs wanted to be recorded as live as possible.” The exception to the rule was Nico Muhly's arrangements for strings and flute, which were added from New York City afterward.

Mitchell will debut the new material during various headline tours in the U.S. and Europe in 2022, at which she’ll be accompanied by players from the album. On stage, she can’t wait to further hone the sights, sounds and scenes that bring the songs to such vivid life. “I’ve spent a lot of time trying to write in the voice of other characters, especially with Hadestown. It’s fun for me, but these songs are not that,” she says. “Weirdly, they’re all me. The narrator is me. That’s why it felt right to self-title the album. It felt like after so many years of working on telling other stories, now here are some of mine.”

As funny as it may sound, Anaïs Mitchell has spent the past 15 years in some kind of hell. OK, not actual hell, but the multi-faceted world of Hadestown, a musical project she began in Vermont in 2006 that has grown into a Tony®- and Grammy®-award-winning Broadway phenomenon with touring editions now delighting audiences as far away as South Korea.

“I experienced so much joy working on Hadestown, but it just kept ramping up and up and requiring more and more attention,” Mitchell admits. “I had to become so single-minded and really put blinders on to my other creative life.” As it did for many artists, the COVID-19 pandemic unexpectedly offered Mitchell a blank slate to reconnect with her own music. The result is a new self-titled album made with close collaborators from Bon Iver, The National and her own band Bonny Light Horseman, Mitchell’s first collection of all-new material under her own name since 2012’s Young Man in America.

“I was nine months pregnant when the pandemic reached New York, so we made an 11th hour decision to leave and have the baby in Vermont,” Mitchell recalls. “We left the city and had the baby a week later, and then like everyone, we were in the midst of this unprecedented stillness. It felt like I could see behind me: oh, there’s New York City. There’s Hadestown. There’s my life with just one kid. A certain kind of stress and expectations. In Vermont, we moved onto my family farm and lived in my grandparents’ old house, with a new baby. I’d look at pictures on my phone from a few months earlier and wonder, whose life was that? This record, and the songs that are on it, came out of that time. I got into a flow again that I hadn’t felt in a really long time.”

Dubbed by NPR as “one of the greatest songwriters of her generation,” Mitchell is a master of the worlds of narrative folksong, poetry and balladry. Those talents are evident from the first moments of the new album, as Mitchell narrates what she calls “an unbearably romantic” trip over the Brooklyn Bridge colored by Bon Iver member Michael Lewis’ heartstring-tugging saxophone accompaniment. “Having left New York, I was able to write a love letter to it in a way I never could when I was living there,” she says. “It was like, fuck it. This is how I feel. There is nothing more beautiful than riding over one of the New York bridges at night next to someone who inspires you.”

Produced by Mitchell’s Bonny Light Horseman bandmate Josh Kaufman, the album proceeds to chronicle Mitchell’s reconnection with the Vermont roots that have been so formative in her life and music. “Bright Star” finds her making peace with the idea of being at peace in the familiar setting of her grandparents’ house, while “Revenant” was inspired by paging through a box of journals and letters belonging to herself and her grandmother — “a very pandemic activity,” she says. “That house is literally my happy place. I can picture myself as a kid, in this house, laying on the carpet with a sunbeam coming through the sliding glass door. There’s something about it that is really connected in my mind to my childhood and a very free, imaginative, creative time. “Revenant” has a lot to do with that house and reconnecting with my childhood self.”

Mitchell concedes that she tends “to be someone who thinks it has to be hard in order for it to be good or beautiful,” but that feeling has changed, partly thanks to her deep connection with musicians she’s met through the 37d03d collective established by The National’s Aaron and Bryce Dessner and Bon Iver’s Justin Vernon. During the pandemic, some of those artists participated in a “song a day” writing group — an idea Mitchell says is usually “totally opposite of how I roll. But it really helped me to gain access to some kind of trust and intuition and flow. I began a bunch of these songs while doing that.”

“It unlocked something that allowed me to finish a bunch of songs I’d been sitting on, and feeling a bit paralyzed about how to finish them,” she continues. “Because no one was touring, it’s not like I was playing them for anyone before we were in the studio. In other times, I’ve trotted things out in advance. Here, it was like, here’s all these brand new songs. Let’s discover what they can be. That was really exciting.”

That discovery process took flight at Dreamland Recording Studios outside Woodstock, N.Y., which Mitchell describes as “this weird, janky, beautiful church - it’s my favorite studio in the world.” Kaufman, Lewis and Big Red Machine drummer JT Bates formed a core band around Mitchell, while Aaron Dessner and Thomas Bartlett joined the sessions mid-week on guitar and piano, respectively.

After the appropriate COVID tests came back negative, “it was a pretty extraordinary feeling to hug, kiss and share the same space playing together,” Mitchell says. “We went into that world for a week and didn’t leave the studio for any reason. I felt very safe with all those guys. It was warm and joyful.”

Mitchell says this environment brought out unexpected details in the material, which was recorded almost entirely live together in the room. “Sometimes we tried separating things out, like vocals, but we always ended up back in the room together,” she says. Indeed, after spending the better part of a day recording overdubbed versions of “Little Big Girl” that nobody loved, the musicians gave up and tracked it again live. “We got so frustrated that we went in and I was like, I’m just going to sing this as hard as I fucking can. It felt like that’s what the song wanted to be,” Mitchell says. “It felt like all those songs wanted to be recorded as live as possible.” The exception to the rule was Nico Muhly's arrangements for strings and flute, which were added from New York City afterward.

Mitchell will debut the new material during various headline tours in the U.S. and Europe in 2022, at which she’ll be accompanied by players from the album. On stage, she can’t wait to further hone the sights, sounds and scenes that bring the songs to such vivid life. “I’ve spent a lot of time trying to write in the voice of other characters, especially with Hadestown. It’s fun for me, but these songs are not that,” she says. “Weirdly, they’re all me. The narrator is me. That’s why it felt right to self-title the album. It felt like after so many years of working on telling other stories, now here are some of mine.”

There’s an ancient Japanese legend in which a horde of demons, ghosts and other terrifying ghouls descend upon the sleeping villages once a year. Known as Hyakki Yagyō, or the Night Parade of One Hundred Demons, one version of the tale states that anyone who witnesses this otherworldly procession will die instantly—or be carried off by the creatures of the night. As a result, the villagers hide in their homes, lest they become victims of these supernatural invaders.

Such is the inspiration for the latest album from EARTHLESS. “My son is really into mythical creatures and old folk stories about monsters and ghosts,” bassist Mike Eginton explains. “We came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories. I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”

Whereas 2018’s Black Heaven featured shorter songs and vocals from guitarist Isaiah Mitchell on much of the album—an unprecedented move for the San Diego power trio—their latest is a return to the epic instrumentals EARTHLESS made their unmistakable name on. Night Parade Of One Hundred Demons is comprised of two monster songs—the 41-minute, two-part title track and the 20-minute “Death To The Red Sun.”

The scenario that allowed for this kind of exploration was a stark contrast to that of Black Heaven. At that point, Mitchell was living in the Bay Area, which made it difficult for the band to get together and work on the type of long instrumental pieces they’re known for. But in March 2020, the guitarist moved back to San Diego. More specifically, he moved back the night the pandemic lockdown kicked in. Bad timing, perhaps—or maybe perfect timing.

Plus, they were all on the same page about not wanting to do another record with vocals. “In a way, I think this album was a reaction to our last record,” Eginton says. “Black Heaven was outside our comfort zone. I think it was a good record, but it was challenging to write songs in a more traditional verse-chorus-verse format. This one was more enjoyable. I’m sure we’ll do more vocal tracks in the future, but for the time being I see that album as a one-off.”

Given the record’s inspiration, it should come as no surprise that Night Parade of One Hundred Demons strikes a more sinister tone than the rest of the band’s catalogue. “It definitely has a darker, almost evil kind of vibe compared to stuff we’ve done in the past,” Rubalcaba says. “There’s more paranoia and noise, and some of Isaiah’s whammy-bar stuff kind of reminds me of these Jeff Hanneman moments in Reign In Blood, where it just seems like everything is going to hell. It’s pretty fun.”

Night Parade of One Hundred Demons was recorded in San Diego with Rubalcaba’s childhood friend Ben Moore, who’s worked with everyone from DIAMANDA GALAS and BURT BACHARACH to CEREMONY and HOT SNAKES. When Eginton wasn’t tracking his bass parts, he worked on the album’s incredible sleeve art. “He really dedicated himself to the project,” Rubalcaba says. “He’d be drawing in the studio with, like, a coal-miner’s lamp on his head while we were doing overdubs. He really knocked it out of the park.”

All told, Night Parade of One Hundred Demons isn’t just a return to the band’s traditional format—it’s a return to their very beginnings. “This album actually has the very first Earthless riff in it,” Eginton reveals. “We just recorded it 20 years after we wrote it. But we’re really happy with how this record came out. We feel it might be our finest to date.”

See Through Blue is Scarlet Rebels’ second album, following 2019’s
acclaimed Show Your Colours, but their roots go further back
Wayne, Gary and Pricey put together the band VOiD in their hometown of Llanelli
in the late 00s, releasing three acclaimed albums under that name before
deciding itwas time to shake things up. Changing their name to Scarlet Rebels,
the original trio were soon joined by Chris Jones and Josh Townshend – the latter
the nephew of The Who legend Pete Townshend. With See Through Blue, Scarlet
Rebels have delivered on that promise. Few bands marry arena- sized modern
anthems with classic songwriting with as much passion and skill as they do.
Fewer still are brave and bold enough to tackle real- life political and social
problems – especially when they’re as potentially divisive as the ones Scarlet
Rebels are writing about.

The project ( nula.cc ) is the brainchild of intermedia artist Lloyd Dunn, a founding member of the Tape-beatles, and editor and publisher of the zines „PhotoStatic“ and „Retrofuturism“. It comprises hours of sound works, hundreds of photographs, travelogue essays, and similar digital artifacts, which often reflect the artist’s frequent travels and aesthetic thinking.

BELLS: In this unmanipulated recording, a performance of the bells of the Transfiguration Cathedral Spaso-Efimeyev Monastery in Suzdal takes place. Suzdal is one of the towns on the best-known tourist route in Russia, called the „Golden Ring“.

CICADAS: An annual brood of cicadas creates a dense sonic atmosphere from their treetop feeding zone, here recorded on a hot July afternoon in a forest near Lake Lisi, on a plateau overlooking the Saburtalo district of Tbilisi, Georgia.

"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.

Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. FFO: OMEGA TRIBE, CRASS, EXIT STANCE, ALTERNATIVE

- The Complete Film Score by Tom Holkenborg aka Junkie XL - 180 Gram Neon Pink Vinyl (Disc 1) and Neon Yellow Vinyl (Disc 2) - New Artwork and Design by Oliver Barret - Exclusive Liner Notes by Director Zack Snyder - Deluxe "Zeus Zombie" Tear Away Front Cover with Triple Gatefold Jacket // Tom Holkenborg is a Dutch composer, multi-instrumentalist, DJ, producer, and audio engineer. He has worked with Hans Zimmer and his company Remote Control Productions on Man of Steel and Batman v Superman: Dawn of Justice, as well as composing the scores for Zack Snyder's Justice League, Mad Max: Fury Road, Deadpool, Tomb Raider, Terminator: Dark Fate, Sonic the Hedgehog, and Godzilla vs. Kong. Waxwork Records is thrilled to present the score music to ARMY OF THE DEAD as a deluxe double LP album featuring never-before-seen interactive packaging with new artwork and design by Oliver Barrett. Listeners must tear open the screaming visage of Zeus, the film's zombie leader, to reveal a locked vault door. The packaging then expands into a neon pink and yellow soaked triple gatefold which unlocks the vault to reveal a horde of Las Vegas zombies inside. As the listener continues opening the album packaging, and all zombies are killed, you'll be greeted by Valentine, the film's beloved (and first-ever?) zombie tiger! The score has been pressed to 180-gram neon pink and yellow vinyl and the album features exclusive liner notes by director Zack Snyder.

Miles Kane is back with brand new album 'Change the Show', set for release on 21st January 2022 via BMG.
Following a chance “no frills session” with psych-rock duo Sunglasses For Jaws at the band’s Hackney studio, Miles’ fourth solo album ‘Change the Show’ really began to take shape. “I saw myself in their energy, but also their taste and their knowledge of music,” Miles explains. “It was the first time I’d felt old!”
Opening with the honest soft croon of ‘Tears are Falling’, the album is a joyous ride from start to finish and features a surprising, but spectacular appearance from Grammy-nominated singer Corinne Bailey Rae for a duet on ‘Nothing’s Ever Gonna Be Good Enough’. ‘Don’t Let It Get You Down’, the first track released from the record, is Miles Kane at his very best: energetic, infectious and full of swagger, the track opening with a sample from fellow Wirral alumnus Paul O’Grady. It's an album that best represents Miles himself: charmingly authentic, and like nothing else you'll hear in pop music today.
“This album was born out of an intense period of self-reflection; having all this unexpected time on my hands,” Miles said of the last 18 months. “I wrote songs about big highs, big lows, daydreams, true friends and deep feelings. I learnt to let the future unfold of its own accord, while staying true to myself and that has led to what feels to me like a really uplifting album!”
A record for fans both new and old, ‘Change the Show’ is the Miles Kane album we’ve all been waiting for. The apotheosis of his previous works, incorporating those classic rock and glam influences, but focusing more closely on Motown, soul, and Fifties R&B.

Double album feature some of the greatest soul artists and their film bangers.

Die beiden Kultalben Racine Carrée und Cheese des weltweit bekannten belgischen Musikproduzenten und Musikers Stromae erscheinen erstmalig in Deutschland auf Vinyl.

Das Album Cheese erscheint auf 180gr in schwarz und enthält den Welthit ”Alors on danse”.

Das einige Zeit später erschienene Album ”Racine Carrée” erscheint als Doppelvinyl im Gatefold mit 140g LPs in knalligem Orange.

A little info about the guys. All three of them as you'll hear are music fiends/collectors/diggers and lovers. They met whilst attending a pagan mushroom festival on the Wrekin hills and have been firm friends ever since they decided that night/morning to go on a quest to find some musical magic in the far-off lands (ye old music shoppes). They only made it as far as the cave around the corner (which happened to have a stack of records and a computer) and thus have remained there ever since much to the joy of their respective wives, cooking up some late-night cosmic melters for the enlightened to enjoy whilst at the dance.

Thus the label was born and this is their first offering to the world. With this release the Wrekin Havoc lads have pulled out all the stops with some tasteful and respectful edits of some little-known Balearic bombs, extending and editing them just enough to allow the originals to shine a little longer – the occasional flourish has been added but that's about it. No multiple plug-ins on this one.

Three Bonafide euro chuggers on A1/A2/B1 for early doors / early morning, actually anytime is a good time to play them!! The fourth and last track B2 is aimed squarely for the end of the night/sunrise/morning music if you will. The only criteria for this release, would we buy this 12” - it was a resounding yes. We hope you enjoy it also.

If anything is made from the first or future releases all proceeds will be donated to charity via Prime Direct Distribution. Stay Gold WH.

Having already proven that he is capable of maintaining sonic quality and distinction over the course of a full original program, Chevel (a.k.a. Dario Tronchin) now makes his LP debut for Stroboscopic Artefacts. His other S.A. contributions (including the inaugural entry in the label's singular Monad series, the "One Month Off" EP, his participation to the label's five-year retrospective series) have already hinted that a more complete exposition of his unique inner world would surface, and here it is at last.

Over the course of his young career, Chevel has gained a mastery over several compositional elements: Polaroid-like slow melodic fades, sharp ricocheting beats, and simply making one's headphones feel like a viable means of physical transportation. All of these elements come into play shortly after the needle hits the grooves of (Track A1), a euphoric introductory track marked by a spectral panning sequence and by beats chopped with a culinary expert's sense of elegance. The drum kit sounds that feature throughout are used sparely but - either because of this or in spite of this - provide maximum impact upon the listener's nervous system. The almost 'far Eastern' use of 'block' percussion on (Tracks A2 and B1) perfectly complements the synthetic sheen produced by fuzz distortion, radio static and bandpass-filtered sound bites, taking us to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement.

There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician: the queasy melody line, sliced-and-diced whistling and gelatinous bounce of (Track D2) evoke a child's wonderment at playtime more than they do the rarefied rigour of the laboratory. The less pulsating numbers like (Track C3) and the closing (Track D3) will engage the listener as well, being like short audio films of abiogenesis (i.e. spontaneous generation of life from 'non-living' material) taking place. These tracks are not so much 'interludes' or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the 'driving' tracks themselves: the places that they drive the listener to are satisfyingly beyond customary experience.

In other words, despite Chevel's keeping the sonic toolkit and overall atmosphere consistent from track to track, there is a rich variety in the emotional affectivity on display here. The net effect is like a dream state that leaves strong impressions even though one can't pinpoint exactly why they are doing so (and which leaves one wanting to dive back into the dream pool and experience something similar again.) This is a talent that unifies the diverse constellation of Stroboscopic Artefacts producers, and one that makes Chevel in particular one to continue watching, listening to, and experiencing.
Wire (USA/Germany/UK) - ''Very intriguing, can/'t wait to dive in.''
Pitchfork (USA) - "Nice use of space, though do find the atmosphere a little one-note. Percussion really pops."
RBMA - "Thanks for reaching out. Having a listen now and the album sounds really good. Happy to give it a shout on RBMA Twitter whenever is best for you."
Paramount Artists (UK) - "20/10 top effort!"
NTS Radio (UK) - ''Nice IDM music with fine textures and bass frequencies..''
Groove (Germany) - ''Very interesting delicate structures. Suggested for review in Groove.''
Exclaim! (Canada) - "I like this. I'll float it to my team and I'll let you know if anyone's interested in covering it."
Big Up Magazine (USA) - "Absolutely epic album."
Vicious Magazine (Spain) - "Great sounds, for our september issue, thx a lot!"
Little White Earbuds (USA) - ''Fantastic album from Chevel. I have unfortunately been at work today without my usual headphones but even listening on very poor quality ones, the rich sonic mastery comes through. Can't wait to get home and listen to this properly.''
Cone Magazine (UK) - "Thanks for sending this through. Looks great, and always interested about a new Stroboscopic release. I'll let you know when something goes up."

MOTOR CITY SCENE, also released as Stardust, by American saxophonist PEPPER ADAMS and trumpeter DONALD BYRD, was recorded in 1960 and released on the Bethlehem label. Donald Byrd and Pepper Adams—and their ace band, including Kenny Burrell, Tommy Flanagan & Paul Chambers—deliver what is one of the finest performances of “Stardust” you’ll ever hear on this album. And that’s just the first track; this is Donald Byrd hitting his first peak, and summoning a band behind him that was formidable, and deft.

Cat Power - vocalist, songwriter, musician and
producer Chan Marshall - releases her new album,
‘Covers’, via Domino.
 Cover songs have always occupied a crucial place in
the Marshall canon, and ‘Covers’ௗcompletes a trilogy of
sorts, following beloved past Cat Power collections
‘Jukebox’ (2008) and ‘The Covers Record’ (2000).
 While she frequently delights and surprises with the
songs she chooses to cover, it’s Marshall’s total
commitment to the performance - imbuing the songs
with a creative singularity that rivals her original work -
that make Cat Power covers so special.ௗ Says
Pitchfork, Marshall can “rearrange a song simply by
squinting at it.”
 Produced in its entirety by Marshall, ‘Covers’ features
fully reimaginedௗsongs by Frank Ocean, Bob Seger,
Lana Del Rey, Jackson Browne, Iggy Pop, The
Pogues, Nick Cave and The Replacements and more,
plus an updated rendition of her own song, ‘Hate’, from
‘The Greatest’ (2006), retitled ‘Unhate’ for this album.
 CD in clear tray in 6-panelled digipack.
 Heavyweight vinyl with full colour labels, printed inner
sleeve and digital download card.
 Press - Reviews in MOJO, Loud & Quiet, Uncut, Record
Collector, HiFi News, Aesthetica. Features in MOJO,
Uncut, Guardian Saturday Magazine, Kinfolk, Adam
Buxton podcast.

In 1972, Australia’s Albert Falzon made a film that would forever change the way the world thought about surfing. The film was Morning of the Earth. For many people it was the very first time they came to recognise surfing as a complete lifestyle. This recognition, coupled with mind-blowing, innovative surfing made the film a classic that has remained vital for over 50 years. Albe’s portrayal of all things pure and simple influenced generations, and passed on an enduring sprit to our Australian culture, our music, and our lifestyle.

Morning Of The Earth’s ethos of soul and spirit in surfing representing surfing as a lifestyle rather than a commercial entity. Not only did it show that these opportunities were open to everybody on their own doorstep, but it also showed for the first time the new exotic frontiers of Indonesia and Hawaii, in which you could further your adventures that encompassed the realm of spirituality and soulfulness.

Morning of the Earth took a unique approach to music. G Wayne Thomas’s selection of performers, songs and songwriters along with his own writing and performance created a warm blend of country soul and pop that helps carry the film to an esoteric level. For the first time, music was not treated as a background or incidental to the vision on the screen. The music was the narrator, with each track played in its entirety. The original soundtrack produced the Australian #1 single Open Up Your Heart and was the first Australian soundtrack to achieve gold sales. It was also recently included in the 100 Best Australian Albums.

The movie and the soundtrack have gone on to become legendary within the Australian surf history so we will be re-issuing the original 12 track soundtrack on black vinyl to commemorate the 50th Anniversary.

This is the repress of celebrated American rock band Against Me!'s album 'Shape Shift With Me' on blue double vinyl. Originally released back in 2016, it has been out of stock on vinyl since 2018. It is the follow up album to the band’s critically acclaimed studio album, Transgender Dysphoria Blues, and came out at the same time as frontwoman Laura Jane Grace announced her memoir titled TRANNY: Confessions of Punk Rock’s Most Infamous Anarchist Sellout. Recorded, mixed and engineered by Marc Jacob Hudson (Taking Back Sunday, Saves The Day) at Rancho Recordo, ‘Shape Shift With Me’, Against Me!’s seventh full length album, has the distinction of the first album frontwoman Laura Jane Grace has written truly from the heart, with no metaphorical cloaks cast over the lyrics. It’s an album about love, that deceptively complex emotion we all struggle with yet has somehow eluded most of Grace’s songwriting for the past 20 years. In a career already full of classic punk records, Shape Shift With Me feels like the definitive Against Me! album—it’s poppy and catchy (“Rebecca,” “Suicide Bomber”), aggressive and in-your-face (“ProVision L-3,” “Dead Rats”), sentimental and longing Crash,” “All This (And More”). Moreover, it’s the culmination of four years of existence as Laura Jane Grace—there’s no going back now, so she might as well embrace it.

"Beyond the Permafrost" is a tightly played, thrashy as hell, and damn tuneful album. The disc combines classic thrash with a bit of melodic death and black metal, and a NWOBHM undercurrent, all of which is given a modern (though not glossy) production. An added twist are the scruffy and snarling (kind of like a CARCASS-y "Heartwork" era crossed with black metal) vocals of Chance Garrette. The guy strikes the balance between a truly sinister aura and good 'ole evil fun. Some death growls are smartly utilized as well. Count "Beyond the Permafrost" as one of those albums that just feels right. Hell bent and upping the irons, SKELETONWITCH gets "it" right on every single one of these smoking tracks. I'll even go out on a limb by saying that from the standpoint of talent and urgency of approach, SKELETONWITCH reminds me a little of THE BLACK DAHLIA MURDER when they first began their ascent. Crank this one really, really loud. - BLABBERMOUTH

All By My Ownsome' is the frst solo offering from Jackson Lynch
The album features fve original songs by Jackson Lynch as well as traditional
folk, blues and gospel songs in Lynch's distinctive style and arrangements. Born
in Ireland, Jackson Lynch moved to New York City's East Village when he was
young. Jackson is an integral part of the New Orleans music world with his band
The Janks. He now resides in Red Hook, Brooklyn where he is also a vital part of
the New York music scene.
Jackson Lynch plays solo, with The Janks and with his string band The Down Hill
Strugglers, hailed by Amanda Petrusich in the New Yorker as, "the very best
interpreters of traditional material presently going.”

2021 Repress features 140g Gold Vinyl and a Velour Sleeve. LP in tip-on jacket with purple velvet and gold foil stamping. In 1975, Brooklyn transplant Pepe Willie booked time at Cookhouse Recording Studios in Minneapolis, Minnesota, to demo five original compositions. Without roots in the Twin Cities' insular scene, Willie had no fixed backing group to help realize the arrangements he and vocalists Marcy Ingvoldstad and Kristie Lazenberry had been rehearsing. Willie organized a young cast of backing musicians for the session, among them his wife's cousin: a 16-year-old guitar prodigy named Prince Rogers Nelson. Known colloquially as "The Cookhouse 5" these recordings showcase Prince's instantly recognizable guitar playing, seasoning to perfection 94 East's short-but-sweet songbook. A crucial document concerning the origins of the Minneapolis Sound, the B-side boasts instrumental versions of each infectious tune, providing an even greater vantage point from which to admire the Purple One's expressive playing style, already evident in his teenage years.

Lee ‘Scratch’ Perry’s 2002 album Jamaican E.T. marked his ‘comeback’. The extra-terrestrial is back with some groovy reggae which creates a bridge between dub, roots and hip hop. But in the end it never ventures to far away from the traditional reggae. The album continues in showing his fascination with aliens, drugs and religion. His own voice is often multi-layered and contrasting with each other. In 2003, the album won a Grammy Award for Best Reggae Album.

Lee ‘Scratch’ Perry was a pioneer in the 1970s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Up until his passing, Perry was active in producing and performing his music.

Jamaican E.T. is available on black vinyl.

10th Year Anniversary Reissue on Silver Colored Vinyl, Deluxe mirror board jacket, includes CD insert of Oscillate Wisely (2021), with expanded liner notes by Eric Harvey. Bonus Video + Audio of Live recordings included in Digital Download. Recommended If You Like: Pedro The Lion, The Sea and Cake, David Bazan, Major Murphy, Kurt Vonnegut & Guided by Voices. For ten years now, I’ve understood “Oscillate Wisely” as a play on the Smiths’ instrumental “Oscillate Wildly”--itself, of course, a pun on Morrissey’s muse, Oscar Wilde. This is not to say that anything about Mike Adams and his band reminds me of the Smiths (especially­Morrissey), as much as the idea that rock bands like Mike Adams At His Honest Weight take shape more or less as a thesaurus of past ideas--winking at them, borrowing them like a library book, checking them out from across the room, cloning them. But the best stuff is more ineffable, far more than just cut-and-paste. There’s a weird grandeur to Adams' music, starting with that fully formed, geekily majestic 2011 debut LP Oscillate Wisely, that I don’t hear in anything else, before or since. A sense that Adams is guiding his listeners toward a cosmic joke so personal, so inscrutable, so funny (“funny”), if you give him your attention. It's in his blood, I think. He's not Oscar Wilde, but a uniquely Midwestern type of deeply sincere romantic and dyed-in-the-wool goofball cast from the mold of Hoosier icons like Letterman and Vonnegut. He doesn’t want to believe in anything, he didn’t create this body, he­loves­a parade.­ It’s all in fun, but it gets so personal. Onstage, Adams is gregarious and playfully self-effacing, a college town denizen telescoping backwards to the brief early 90s moment when “college rock” entered the corporate suite, and performers forced to become showmen retreated to the comfort of their native tongue: irony.­And­Oscillate Wisely­has demonstrated for a decade that earnestness and sarcasm are as intricately bound in rock and roll's­lingua franca­as hang-ups and chill hangs. I’ve never heard any musician summon everything I love about being from Indiana so perfectly. And I’m­fucking­old. Eric Harvey.

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Vice Squad are a UK Punk Rock band who’s first single releases included the classic ‘Last Rockers’ 7” in 1981. This was followed by the landmark albums ‘No Cause For Concern’ in the same year and ‘Stand Strong Stand Proud’ in 1982 which were both released on EMI. Since then Vice Squad have delivered short sharp songs with incisive political lyrics and a dash of humour spat out over a thunderous rhythm and machine gun Rock ’n’ Roll guitars. Their latest releases are the EPs 'Born In A War' and 'Ignored To Death V2' taken from the forthcoming album ‘Battle of Britain’ set for release on their own Last Rockers label in May 2020. The band have become 100% DIY since forming Last Rockers Records in 2009. In keeping with the DIY ethic the previous albums were recorded in the band’s own ‘Sci Fidelity’ studio South London and the new album ‘Battle of Britain’ continues this with the band maintaining full artistic control with the benefit of global distribution via Cargo. Their last album ‘ Cardboard Country’ was launched on the back of a very successful Pledge campaign raising funds for the Shelter homeless charity in line with the album title which was inspired by 'Cardboard City', the name given to the settlement of homeless people living in cardboard boxes near London's Waterloo station. Vice Squad is fronted by raucous voiced singer/guitarist Beki Bondage who was famed for being a teenage champion of Animal rights long before the current popularity of veganism. Vice squad’s song ’Humane’ was one of the first ever Animal Rights songs. Beki has been featured on the front cover of a number of influential music tabloids such at Melody Maker, NME, Sounds, Record Mirror and Smash Hits. After a hiatus, Beki formed a new version of Vice Squad in 1997 featuring longstanding members of her post VS outfit The Bombshells and they have released several quality albums of powerful punk songs that have been very well received across the world. Vice Squad are considered one of the most influential punk rock bands of all time, paving the way for other female Punk and Rock singers and influencing male performers such as Dave Grohl of Nirvana and Foo Fighters fame who was introduced to Vice Squad via his sister’s record collection. The first rule of Punk is there are no rules and Vice Squad ably illustrate this with ‘Battle of Britain’. Written, Recorded and Mixed by Beki Bond and Paul Rooney in their home studio. The 13 track album opens with the blistering ‘Ruination’ which cuts through the bullshit of small time promoters and blaggers with consummate swagger and melody while ‘I Dare To Breathe’ is an amphetamine driven anthem to paranoia. ‘When You Were 17’ is almost-tender and tells of first tattoos and under age booze whilst the more chilling ‘Ignored To Death’ rails against isolation and homelessness. The explosive ‘Born In A War’ rages along like a missile ravaging a third world country and warns ‘See how they treat refugees? That’s how they’ll treat you and me’. Elgar’s ‘Nimrod’ reworked with a pulsating industrial bass segues into title track, 'Battle Of Britain' where Beki's vocals soar like a Spitfire over the crunching de-tuned riff and spit fury over the hypocrisy of putting war memorials before people. The dystopian ‘Poverty Face’ hits you with the opening line ‘Disinheriting the meek, slyly killing off the weak’ and is counter balanced by the more upbeat ‘How The Other Half Lives’. ‘No Evil’ is a relentless attack on the normalisation of the suffering and death of billions of animals for the meat industry. Battle of Britain's hard hitting collection of anger and riffage pulls no punches in covering topics from austerity and factory farming to the pernicious influence of the Mainstream Media - ‘Led by lies lambs to the slaughter, tax exiles say who you vote for’. Brexit, fake patriotism and cognitive dissonance all get a good kicking too. The penultimate track, 'You Can’t Fool All Of The People' mixes baritone guitar with violin and Celtic rhythms climaxing in an epic James Bondesque heavy guitar/orchestral blend and breaks every rule in the Punk Police hand book whilst pleading for unity against a rigged political system. ‘Pulling Teeth’ with its ominous riff and hilariously frustrated lyrics ‘Dithering jibbering solid as jam, is it fair I’m both the woman and the man’ closes the album in manic style

Das Live-Doppelalbum "Glitter & Doom" entstand auf der gleichnamigen ausverkauften und hochgelobten Tour, die den kalifornischen Songwriter 2008 durch die USA und Europa führte. Die erste CD soll wie ein einziges Konzert klingen, obwohl die 17 Songs in zehn verschiedenen Städten aufgenommen wurden. Die zweite CD heißt "Tom Tales" und ist eine Zusammenstellung von Zwischenbemerkungen und Bühnenansprachen, mit denen sich Waits während des Klavier-Sets mit dem Publikum austauscht. Die Themen reichen dabei von Insektenritualen bis zum letzten Atemzug von Henry Ford. Musikalisch zeigt sich Waits auf "Glitter & Doom" in seiner ganzen eklektizistischen Herrlichkeit und wechselt nahtlos von einem Charakter zum anderen: Jahrmarktschreier, Prediger, Country-Sänger, Soul-Liedermacher und Geschichtenerzähler. Unterstützt wird Waits von einer fünfköpfigen Band, die das Waits'sche Repertoire um einige neue Perspektiven erweitert.

Minimal Wave presents an exquisite 7" EP release by Martin Lloyd entitled "L'Amant Electronique". Martin is mainly known for his Oppenheimer Analysis (Minimal Wave) and Analysis (Survival Records) projects, yet through the years he recorded over two dozen tracks on his own, most of which never saw the light of day. The four selected tracks were recorded between 1980 and 1984 in his own "Feedback Studios" in Battersea , London. Martin Lloyd delivers vocals via the vocoder and carefully layers synth melodies which range from upbeat and danceable, to what could be the soundtrack to a 1981 post-apocalyptic science fiction film. The record is pressed on white vinyl with a heavy black jacket (spot gloss) and is limited to 999 hand-numbered copies.

Not just a super-rare set of dreamy soul jazz but also a neat piece of independent label history: JSR were a Jersey-based imprint with an open source attitude to their business, allowing ambitious young musicians their first break contract-free (albeit with limited pressings) In 1980 Coleman took them up on the offer, played most of the instruments himself and even designed the artwork: Taking Care Of Business is quite a literal title. It's literally brilliant, too; just check the Shuggy style vocal leans on "Due Consideration" or the swooning Roy Ayers style vibraphone magic of "Sweet Bird" and you'll see exactly what we mean. Stunning.

Collectors of Black American music have long revered maverick genius Jerry Williams Jr. a.k.a. Swamp Dogg. His brilliant songwriting and unique voice have left indelible imprints on soul for decades, and Soul 4 Real Records are proud to add a Swamp 45 to their ever-growing catalogue.
Both these tracks make their vinyl debut here. If you saw Swamp perform “Oh Lord” at 2019’s Soul 4 Real weekender, it’s a memory you’ll treasure forever. Swamp’s exquisite studio version of the soul standard was recorded in 1967 as a follow-up to “Baby You’re My Everything”, but inexplicably stayed unissued for 40 years.
Almost 40 years have also passed since Swamp recorded his demo of “If You’re Leaving”, a song from his “lost” country album on Mercury. Never issued anywhere before, it’s a rare chance to hear work-in-progress from one of soul’s most beloved artists.
As he enters his seventh decade of recording, Swamp continues to be active and musically provocative. A man of many names and many talents, here’s Swamp Dogg at his vintage best!

The second release in January to celebrate the 25th anniversary of Frank de Groodts career as a recording artist is a re-press of his legendary Sonar Bases 4 10 double 12 . Exactly 21 years ago, in January 1997, Frank elevated to electro stardom with this astonishing combination of dark electronica and electro beats.

Frank at the time lived just outside the city of Amersfoort, which is where he was born and lives again these days, some 30 minutes northwest of Utrecht. His first ever release in January 1994 was a techno EP on U-TRAX, as Pieces of a Pensive State of Mind. Later that year, he released his first 12"-es on Djax records as The Optic Crux, and he continued to keep making up artists names in the following 25 years, like Fastgraph and The Operator. He is also one half of the live outfit Random XS (together with DJ Zero One), collaborated with Arno Peeters (a.k.a. Spasms) as Urban Electro and with Detroit's Dennis Richardson as Ultradyne. And that s not even all of his alter egos.

The sound of these eight unique tracks called for a new moniker back in the nineties: Sonar Base (ironically misspelled on the original release as Sonar Bass). All track on this re-press have been remastered for maximum impact. The double vinyl goodness kicks off with Earth Probe, that very subtly creeps towards us, before it kicks in with a rather obese bassdrum. As if Frank wanted to ease his listeners into his then new sound, this track basically is in techno/acid style, but has the slower tempo that characterizes the rest of the electro tracks of this release.

Immediately following, is the unrivaled beauty of Welcome To Sonar Base #4, a track that slowly builds up before it takes us on a deep space journey at two thirds. The 11 minute Sonar Base #5 has been a DJ favorite for 21 years, reaching out to both electro and techno lovers, while Sonar Base #6 is the type of ultra-pure electro that really puts your woofers to the test.

Arrival At Dwell Probe is another one of our favorites, with superfine beats, desolate voice samples and deep and moody synths. Very musical, truly a top piece that will leave you totally unprepared for Blunted. This track has the rolling type of hiphop-style beats that mix well with LL Cool J's Mama Said Knock You Out, but of course has the space-station atmosphere that makes it unmistakably a Sonar Base track.

The fast pace and merciless beats of Intergalactic Anecdote rush us to the finale: Sonar Base #10, a worthy closing track, with deep bassdrum patterns and melancholic strings that also please fans of broken beats. It stops and goes and keeps demanding your attention, making you wanting to go back again to the first track disc and start your Sonar Base trip all over again.

A limited edition clear vinyl pressing for Vol. 1 of DINTE's critically acclaimed collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.

Marshall McLuhan’s famous edict ‘the medium is the message’ has never been more apt than with regard to modern remix culture. Although the idea of the remix goes way back to the Jamaican dub pioneers and New York disco remixers of the 1970s, the form didn’t truly come into its own until the acid house explosion of the 1980s, when remixers’ credentials often subsumed — and sometimes surpassed — the original source material. Some, among them our lost friend Andrew Weatherall, used remixing as a springboard into multiple other directions, and became auteurs in their own right.

Forged in the white-hot heat of post-acid house Britain, these Heavenly remixes are perfectly weighted with respect and irreverence, the remixer in each case carefully chosen to add heft to the song (as on Al Breadwinner’s dubwise reworking of Mattiel’s ’Guns of Brixton’— the pairing more a game of chess than a best-of-three arm wrestle).

Although Heavenly was founded in the wake of huge upheavals in electronic music, it was still imbued with its own curious parallel life. I’ve always thought of Heavenly as one of the UK’s alt-pop labels; a place where brilliant pop bands live and record, if the general public would only realise. Some of them have ended up in the real, actual charts (Saint Etienne, Doves), but that’s missing the point about Heavenly, who are, like Factory and Fast Product before them, pop music’s conscience.

There is no sense of order to this compilation and we make no apologies. It’s the Heavenly way. Think of it as a present from Loki, the Norse god of mischief. You’ll find a smattering of older tracks: album openers Saint Etienne are taken on a Poseidon Adventure with Underworld, who inject ‘Cool Kids of Death’ with typically manic energy. Elsewhere, ’90s Brum duo Mother add dancefloor pzazz to Espiritu’s innate glamour on an all-funked-up reworking of ‘Los Americanos’, and Mark Lusardi’s remix of Moonflowers’ ‘Get Higher’ is an early Heavenly classic.

On ‘Terracotta Warrior’, a perfect, psyched-out, Mancunian union is created betwixt Jimi Goodwin and Andy Votel, whilst Goodwin cohort Simon Aldred, in his Cherry Ghost guise, receives a proper Tamla-Motowning from Richard Norris (aka Time & Space Machine) on an inspired cover of Cece Peniston’s glam-house hit, ‘Finally’.

There are several of Heavenly’s current darlings here too. One of the most exciting young British prospects, Yorkshire’s Working Men’s Club, effectively remix themselves, as Minsky Rock — WMC’s Syd Minsky-Sargeant and producer Ross Orton — cleave ‘X’ into a riotous industrial racket. Jagwar Ma’s Jono Ma takes the Kraftwerkian leitmotif on ‘Automatic’ and drives the Australian jazz-funkers Mildlife down an electro-convulsive psychedelic tunnel (thankfully no-one was harmed during the making of this remix); Sheffield’s DJ Parrot and Jarvis Cocker deliver one of the outstanding remixes of 2018, turning Baxter Dury’s ‘Miami’ into a lovelorn minor opera; and, making its first appearance on vinyl, David Holmes’ Unloved project is taken on a panoramic Welsh waltz thanks to Gwenno.


There may well be no rhyme, nor reason, to how these compilations have been put together, beyond the fact that they are assembled with love, an innate understanding of the power of great pop music, and a skilled marriage of song and remixer — but does one really need anything more than that for an album to make sense? I’d suggest not.

"Another stone cold classic from the vaults of Taxi Records. The Cool Ruler, aka singer songwriter Gregory Isaacs. Perfectly crafted songs and precise rhythm construction by the Taxi Gang
at Channel One Studio. Each song drifts seamlessly into percussive dubs with subtle sonic landscapes sculpted by the engineers Maxie & Ernest Hookim at the mixing board."

Morrice is no less than a pioneer of Portuguese techno, churning out high-octane bangers and rave-tinged rollers alike from his hometown of Porto since the mid 90s. Lucky for us he didn't slow down, and his fresh offerings are as enticing as ever - we got our hands on some of the finest crop of Morrice's characteristically deranged, sonic techno and 'Back on Tracks' was born.

One can hear the realness of a legend-worthy path in dance music in every tough beat and in every bass line twist and turn: the opener 'Dirty Smack' is a raw, no-frills mutant banger that will throw even the most bashful raver into a frenzy, reminding us all why we miss dancing together so much. 'Stress Will Kill You' is a tense, paranoid techno roller featuring a super effective lead over an economic but super banging technoid beat&bass. 'Synth Lies' is another trip recalling Midwest movements and exuberant composers like Poindexter.

On the flip, you'll find the soulful depths of a warm 'Doctor' as well as the wonderfully Detroitian-via-Douro dream of 'Acorda', all silky pads and stabs. The record closes with a 'Dirty Smack' remix by Paraíso regular Violet who infuses the original with broken rhythms and percussive highlights.

Superb EP bringing in 3 fresh artists... A banging Acid Techno tune followed by an Hard Drum & Bass killer for a change : that's a bloody tune !
On the flip you'll get a long acid mental tune, here cutted in two parts for you to have a nice oversee on this liveset style tune.
Sweet and original again. A record that have something to say !

BIG UP !

Two years after the critically acclaimed Pity Party, Liz Lawrence graced us with a return on top form. Crafted in her home studio during the cursed year of 2020, the Avalanche is full of impeccable guitar driven bangers and infectious melodies.

Witnessing Liz playing a stripped back version of album highlight “Drive” a few months back has left the tune on constant rotation in my head. Yes, it is this good.

The Avalanche is still available on a limited green vinyl, packed in a beautifully designed die-cut sleeve.

Mammoth WVH is the debut, self-titled album of Mammoth WVH – the band created by Wolfgang Van Halen. This collection includes the chart topping and now Grammy nominated "Distance” as well as “Don’t Back Down,” “Epiphany,” “Mammoth” and more.

This stunning debut is one of hands down one of our highlights of the year and is still available on a lovely Black Ice Transluscent vinyl.

Wolf began to embrace his voice, inspired by everyone from his father, to bands like AC/DC, Foo Fighters, Nine Inch Nails, TOOL, and Jimmy Eat World. In addition to writing and singing every song on the self-title debut album, remarkably Wolfgang plays every instrument.

Mammoth WVH will be touring Europe extensively in 2022 supporting Scorpions in Germany and headlining shows in Paris, London or Zurich.

Recorded in Stockholm in 1962, and originally released on Sonet Records, these sessions stand as Ayler's first step into a new sonic world. This was when Ayler was still dealing with classic Jazz standards such as "I'll remember April", M Davis's "Tune Up" and "Rollins Tune", a declared tribute to the older master Sonny Rollins. His already super-strong tenor sax voice dominates a quiet, almost shy, local rhythm section featuring Torbjorn Hultcrant on bass and Sune Spangberg on drums. This was just before stepping into his unique, hyper energetic and ecstatic form of Free Jazz. This was Ayler sowing the seeds of a revolution to come!

2003 Jahr erschien das elfte Studioalbum von Killing Joke und das erste nach einer Pause von sieben Jahren.
Ihr selbstbetiteltes Debütalbum war zu diesem Zeitpunkt 23 Jahre alt. Zehn Alben später benannten sie
ihr neues Produkt nun erneut nach sich selbst: „Killing Joke 2003“. Ein Name so simpel, dass er besonders
laut daherkommt. Die Drums wurden damals von Foo Fighters-Frontmann Dave Grohl eingespielt. Der
ursprüngliche Plan war es gewesen, die drei Lieblingsdrummer der Band auf dem Album zu vereinen: John
Dolmayan von System of a Down, Danny Carey von Tool und eben Dave Grohl. Letzterer beanspruchte
kurzerhand „das ganze Ding“ für sich, nachdem er die Songs gehört hatte und bestand darauf, unbezahlt
zu arbeiten. Ihr Werk wurde 2005 im Rock Hard Buch zu einem der 500 größten Rock- und Metalalben
aller Zeiten gekührt. Weitere zwei Jahrzehnte später, nach 40 Jahren Bandgeschichte erscheint „Killing
Joke 2003“ jetzt in einer Neuauflage.

Beyond the reference to the « Blue Hours » and to the New York recording studio, these albums are a hymn to life.

The orange colour reminds us of the Sun’s light at dusk, the hopes of dawn, a promise of a new day .
In that regard, we asked each artist to express three wishes for the future.

Kevin Hays-Yotam Silberstein
Nicole Glover-Alexander Claffy
Johnny O'Neal-Paul Sikivie
David Kikoski-Peter Bernstein

Recorded in Brooklyn NYC at Big Orange Sheep Studios -October 2020-

The wonderful world of Louis Armstrong All Stars are the cream of the crop of curr
ent New Orleans musicians, paying tribute to the musician who started it all in the Crescent City. The album is comprised of new arrangements and recordings of music assosciated with Louis, featuring a previously unknown Louis Armstrong and the All Stars track, and a touching spoken word private recording made by Louis made near the end of his life. Produced by Wycliffe Jordan, Jackie Harris, and Nicholas Payton, with a rotating cast of key New Orleans players including guest features from Wynton Marsalis, Common, and more. This is the LP release.

BOSS BY NAME, BOSS BY NATURE. The five heroes finally follow up the Steel Box 45 (Goner) with Cash 'Em In. A disgustingly catchy yet charming ode to the lost art of picking up one lucky person and, well, chucking them over a bar. Might as well, right? Sonically, this is still hitting that sweet spot between early UK punk and glam rock n roll, and once you've flipped both sides you'll be getting ready to cash someone in yourself (and don't worry, Cal from The Chisel pops up to provide full instructions). Featuring members of Fucked Up, Rixe, Chubby and The Gang and The Chisel. The 7" is limited to 450 copies on white vinyl and comes in a fold out poster sleeve with artwork from Tin Savage.

Butterbandz returns with another absolute BANGER of an EP ‘King Heroin’. This is his second EP on the 7 Days Entertainment imprint and he is serving up some DOPE tracks. From start to finish you’ll be sure to find a groove you’ll enjoy. ‘Prometheus’ starts off the EP with an energetic techno track. It’s got a punchy synth over a sub bass with dreamy synth chords and some rockin’ drum programming. The second track ‘Get Down’ is simple yet effective. It’s got that Detroit feel that we all love and enjoy. Not really structured, kind of just flowing. The drums are knocking and the hi- hats are keeping up that energy. It’s a got a rough rugged bass paired with a synth that carries feelings of deep rage and clarity. Tying it all together is the vocal sample. For the title track ‘King Heroin’ Butterbandz teams with his older brother Generation Next to create this gem. It’s got some deep emotion but it will make you move nonetheless. Excellent high energy drum programming, distance reverbed synth pad, catchy piano pattern, in your face lead synth, and a off putting sub bass. These two artists make a dynamic duo. Lastly is ‘OD Soundtrack’ tying together a hard hitting EP with a little laid back tune to take you to a higher more peaceful place. The synth pad carries that smooth calm sound and then the kick is in your face out the gate. It’s got some airy flutes and grooving lead synth. This EP is going to be a staple in the growing legend of Butterbandz.

A further volume of ryūkōka recordings, covering the end of the 1920s though to the late 1930s, supplementing the recent Longing for the Shadow collection...

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

Is It Really Goodbye? further collects pre-war ryūkōka records which capture the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

Clear Vinyl

For our second anniversary, KR3 is excited to present the second installment of our Various Artists series with contributions from 8 artists.
Vortex Chronologies Evo.2 – will be available both 2×12” Double Transparent Vinyl and Digital.
The concept embodied in the label’s logo once again comes to life in this compilation;
Each artist involved was asked to represent their Sonic Idea of a Vortex, resulting in a selection of tracks different in sound but connected by the same concept.
Like different paths of the same labyrinth, all converging in a common end.

Ajak Kwai is a name well known to the airwaves, stage, and broader Australian music community for her powerful performances and strong messages that call for inclusion and celebration of the diversity found throughout Australian society. Originally hailing from a small town of Bor (pronounced ‘bohr’) on the Upper Nile in what is now South Sudan, music has always been part of her life.

Alongside sharing political messages through her music, Ajak Kwai is also a radio broadcaster in Melbourne on both PBS and 3CR. Her shows give a voice to the local African community so that they can tell their stories through music and spoken word, and her music selections focus on songs that have changed the world in a positive way. She challenges bias in our society and reminds politicians to be accountable for their language and actions.

Performing in English, Arabic, and her native language, Dinka, Ajak Kwai’s music draws upon South Sudanese funk and blues influences and brings together elements of traditional music alongside more contemporary gestures. The result is something notably unique and powerful.

Ajak Kwai is joined by a band of exceptional standards, including musicians Matthew Erickson, Kanyakumar Shome (Silent Jay, REMI, The Bamboos, Cat Empire, Sampa the Great), Kofi Kunkpe, Maria Moles (Jaala, Jonnine (HTRK), Mildlife), Gabriela Georges and guests Boubacar Gaye (Ausecuma Beats) and Allysha Joy (30/70).

Ajak Kwai’s previous release and fifth album, ‘Let Me Grow My Wings’, was featured as RRR album of the week, feature Album on 2ser, and saw widespread support across community radio. Ajak Kwai has been an ambassador of the Melbourne International Arts Festival for three years and her sets have been highlights at festivals including WOMADelaide, Bluesfest, Brunswick Music Festival, A Festival Called Panama, Dark Mofo, Port Fairy Folk Festival and Woodford Folk Festival.

Aeon Station’s ‘Observatory’ is an epic statement more
than a decade in the making, with miles of timeless
melodies and the kind of overpowering songwriting
that will reaffirm your belief in life itself.
 Band leader Kevin Whelan co-founded and was a key
songwriter for New Jersey indie-rock legends The
Wrens. The Wrens’ landmark 2003 album, ‘The
Meadowlands’, received a 9.5 Pitchfork review and
made Pitchfork’s Albums Of The Year list. Since that
album, fans and press have been eagerly awaiting
new material from The Wrens members.
 Whelan’s scope of musical vision on ‘Observatory’ is
wide open and free with possibilities - at once recalling
the reflective wisdom of Bruce Springsteen, Broken
Social Scene’s huge anthemic burn, and the Wrens’
own pulsing-with-life take on rock music. Above all,
this is music not only for dreamers but for those who
realize and appreciate the enormity of every moment.
“It’s about never letting go about those dreams and
your passion,” he states. “The album starts from a
place of realizing that everything is temporary, what we
love eventually changes or leaves us, and regardless
we continue to search and find our way back home.”
 If you’ve ever caught air in your lungs or felt your heart
beating in your chest, there’s no doubt that you’ll find
some level of connection with ‘Observatory’’s openhearted, instantly classic-sounding rock.
 LP pressed on cloudy blue vinyl.

Rough Trade Records announce the release of the
15th Anniversary edition of The Long Blondes’
debut album, the acclaimed ‘Someone To Drive
You Home’.
 The home of a host of indie disco classics with its
noir atmospheres and vivid storytelling - qualities
that saw the record inspire recent, generationcapturing movie ‘Giddy Stratospheres’ which takes
its name from The Long Blondes’ iconic single -
the Sheffield band’s first album managed that rare
trick of capturing the 2000s zeitgeist while leaving
a timeless artistic mark for the ages.
 Initially inspired by the frisson of the indie disco -
now, fittingly, a classic of low lit dancefloors
everywhere - ‘Giddy Stratospheres’ is The Long
Blondes’ sophisticated calling card. A swirl of
razor-sharp guitars and vivid storytelling, waltzing
melodies and burning vocals, the Sheffield band’s
2000s single fizzes with dancing, desire and the
most stylish sing-a-long you’ll ever hear.
 The Anniversary edition of ‘Someone To Drive You
Home’, which was originally released in November
2006 and was produced by Pulp member Steve
Mackey, comes as a gatefold double LP, pressed
on to red and yellow vinyl to mirror the album’s
artwork - a picture of actress Faye Dunaway
painted by frontwoman Kate Jackson. The edition
features the original record, plus 11 additional
tracks that the band used on B-sides.

Mouth Congress – friends Paul Bellini and Scott Thompson of Kids In The Hall fame - wrote and recorded hundreds of songs in the ‘80s with - out ever putting out a proper release. Alongside various cohorts and conspirators, the band drew on their experiences as gay men to craft hilariously crude punk songs that run the gamut of strange characters and taboo subject matter. Their rag tag approach to songwriting blended various styles from noisy punk to lo-fi new wave and DIY disco, all with a very gay bent. Without trying, they were surprisingly cutting edge.

Mouth Congress did dozens of live shows through the mid-80s that gained a reputation for being theatrical, combining props, sets, multiple costume changes, unusual song choices, guest stars, and Scott’s stand-up comedy. In 1988, they recorded a 7-song demo tape. The tracks were recorded quickly, as the Kids in the Hall were about to go to New York City to develop their material. Then, caught up in the excitement of the Kids in the Hall being signed to television, Mouth Congress activities slowed to a crawl.

In 2011, Paul dug out an old VHS tape of one of the live shows. The sight of one of the Kids in the Hall covered in sweat, writhing on stage like Iggy Pop, was something he felt comedy fans might enjoy seeing. Naturally, Scott agreed and they uploaded everything - over 600 recordings - onto Bandcamp. One day in 2019, Mike Sniper of Captured Tracks stumbled upon the Bandcamp page, got in touch, and suggested assembling a compilation of the best recordings to be officially released for the very first time.
Waiting for Henry is a collection of 29 tracks over 2 LPs with a booklet of interviews and ephemera from one of the ‘80s
last queercore bands.

Who is Henry? We don’t really know, but we certainly hope he shows up soon.

Balearic floatation tank vibes from another choice debutant to Good Morning Tapes, introducing Nueen with a romantically introspective suite of fluttering electronic productions gilded with glyding subbass, recommended if you're into the sferic label, Bola/0161-era Skam, Eno & Budd, Roméo Poirier or Perila.

Blessed with a play of warmth and dappled light recognisable to anyone who has visited or lives in the Mediterranean, ‘Nova Llum’ presents Nueen’s diaristic account of days lolling and contemplating life in the Balearic isles. Drawing inspiration from its sunbleached rocky mountains and brilliant blue waters unusually devoid of lobster-tanned holidayers during lockdown, Nueen lets his mind and arps drift unimpeded across the landscape in nine sublime parts with a sound bound to appeal to lovers of classic Eno & Budd or Roméo Poirier as much as strains of vapourwave, Perila’s ASMR textures and cult Grabaciones Accidentales.

With a light touch Nueen takes us there, beautifully evoking a slippage of time from afternoon to noche between the glitching butterfly net sweeps capturing the isle’s sleepy ambience in ‘Once You Have It,’ to the shimmering shorelights of ‘Viejo Roble del Camino’ that draw the album’s velvet curtains to a close. Where the backdrops feel still, ancient, natural, Nueen channels a gently vibrant human energy via his melodic and harmonic signature, with daubs of field recordings lending an intangible effervescence to the the tip-of-tongue strings in ‘Centro Gris,’ and with sparing use of percussion and subs giving it a sort of subliminal drive and saline buoyancy, especially in the skin-stroking bliss of ‘Hum.’

Westbound 1976 Funk classic - Featuring an all-star Parliament/Funkadelic line-up - Limited 180g TANGERINE COLOR Vinyl Edition (400 copies) - Comes in Deluxe Gatefold Jacket with Obi Strip - Comes with liner notes // A co-founder of the P-Funk movement, Clarence Eugene "Fuzzy" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released his first solo album, A WHOLE NOTHER THANG, in 1976. The album features funk `all-stars' from the likes of Bernie Worrell, Donald Austin and Bootsy Collins. Haskins wrote eight of the nine songs and served as producer, singer, songwriter, guitarist and even drummer. The result was an album that oozed quality. With his brand of earthy and heavyweight funk, Fuzzy Haskins' solo work fits right in with many of the other great P-Funk side projects. Also featured on the album is the track "Cookie Jar", which was later recorded by Prince. Despite the quality of music, the album didn't sell in vast quantities and didn't find the audience it deserved. `A Whole Nother Thang' is a true gem to funk fans, mint vinyl copies are hard to find and pricey these days. If you are a Funkateer_this one's for you. Originally released on Westbound Records in 1976, now back available as a limited deluxe 180g TANGERINE COLORED vinyl edition packaged in a gatefold jacket featuring the original artwork and liner notes.

Northern Soul legend Lorraine Silver recorded Lost Summer Love when she was just 13 years old in August 1965. Whilst not a chart hit on its release, the track did become a massive anthem at the iconic Wigan Casino and was reissued on the Casino Classics label in the late 70s selling in excess of 30,000 copies. However, Lorraine knew nothing of her heroic Northern Soul status until the late 80s.

23 years after the original recording, Lorraine’s husband, agent Barry Collings, was reading Blues & Soul magazine which featured a top ten selection of favourite Northern Soul tracks that included Lost Summer Love. Lorraine called the editor and was flabbergasted to discover it really was her song. Following this, her story was told in a whole
selection of Northern Soul publications. She contacted the original record company PYE and was told that the track had sold some 34,000 copies worldwide and she could claim her royalties!

At around the same time Barry was involved in promoting Northern Soul weekends across the country and Lorraine was able to meet all the DJs who had been playing her record for years.
She was persuaded to get up and do a couple of PA’s of Lost Summer Love much to the delight of the audience who were queueing for autographs.

Since then, Lorraine’s resurrected career has gone from strength to strength, with airplay on BBC Radio 2, performances at Northern Soul events, and an appearance at the Edwin Starr Memorial Concert alongside the likes of Clem Curtis, Geno Washington, and Jaki Graham. In 2011 she was asked to join the line-up of a new touring show ‘The Mod All Star Band’ with artists she herself had idolised in the 60s including Steve Ellis and Chris Farlowe.

Now, at the age of 70, Lorraine continues to perform, record, and release new material in a career that now spans an incredible 57 years. Her brand-new single Fever Raging Out Of Control was produced by legendary Northern Soul DJ Ian Levine who has also produced pop hits for Take That including ‘A Million Love Songs’ and ‘Could It Be Magic’. The final mix of the track was done by Nigel Lowis who has also worked with Burt
Bacharach, Andrew Lloyd Webber, Stevie Wonder, Luther Vandross, Mariah Carey and Celine Dion to name just a few.

And…that original recording of Lost Summer Love, has now become quite the collector’s item, with a recent copy selling on eBay for some £700.00!

BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun. Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person. A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self-dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement. Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others. Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy-awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.

The original soundtracks from the Universal Studios films Frankenstein (1931) and The Bride of Frankenstein (1935) composed by Bernhard Kaun, Giuseppe Becce, and Franz Waxman

The original soundtrack from director George Cukor’s Musical Une étoile est née (A Star Is Born) (1954)

Originally released in 1963, and arranged by four distinctive musicians, among them alto sax genius Benny Carter, "Recipe for Soul" stands as one of Ray Charles's most eclectic and erratic releases of the period. A highly varied sequence of pop standards, lowdown blues, Jazz big band numbers, after-hours ballads and country tunes like Harlan Howard "Busted" one of his best early-'60s singles.

It’s been four successful collaborative releases and Mama told ya has grown up so much since this last couple of years.

Faithful to its praise of collaboration, this fifth release will be no exception: Anetha invited the prodigious Alex Wilcox in a 4-tracks emotional roller coaster adventure entitled « It’s okay to cry ». Because yeah, newsflash : it really is.

Best piece of advice from Mama, you should now let it go, open the floodgates, release the pressure. Let yourself be carried through BPMs, Glitched-Ghetto-Techno, satured yet textured, that our powerful duo concocted. It is time to catharsis! The artwork has been commissioned to the extraordinary Risa from Olga Goose Candle. It was an evidence to bring to the table her vintage kooky wax characters whose ultimate poetic fate is to melt. Into tears.

Photographer Anaïs Lallite and designers Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep, as usual. Embark for a jazzy-cowboy-bepopesque-techno ballad in Funky Blender (A1). At first, you’ll feel the sharp blades twirling by your ear: Alex Wilcox chops up what’s left of our sorrow then smooths it up with some soul in it through that « groovgeous » bass saxophone. Featuring Latrice Pink, Alex Wilcox shows some damn good maestria in glitched and vocal effects with RESPOND! (A2). The urge to let it go is relentless. So irrepressible that you let the boisterous uptempo drumming race sweeps you in direction of that point of no return where you’ll have nothing else to do but finally release. And here we are, Paris, Texas (B1), where two universes collide. Both Anetha and Alex Wilcox discharge their heart into two beautiful tunnels of grief intertwining into one bomb aquatic transe track. The drop you’ve been waiting for is here and it’s okay to cry, honey. Alex Wilcox upbeats one last time our journey in a spooky, spine-chilling electronic course in BOO. (B2).

In the September of 1957, between the
filming of Jailhouse Rock and King Creole,
Elvis entered the studio to record a
Christmas inspired LP that would become a
template for all future recordings with
heartfelt versions of Silent Night and O Little
Town Of Bethlehem to bluesy readings of
Santa Bring My Baby Back To Me and Blue
Christmas. Complete with the Rock'n'Roll
inspired Santa Claus Is Back In Town.

Tartelet has a knack for uncovering virtuosic, off-kilter electronic music. Max Graef—born, bred and still holding it down in Berlin's Prenzlauer Berg—is their latest artist in this mold. Though adventurous dance music is thick on the ground in the German capital, Graef's 2013 run of singles, cropping up on Graef's own Box aus Holz, plus Melbourne Deepcast, The Gym, Heist and Tartelet, continually surprised, infusing worn-in house with manic energy and acrobatic elasticity. Where many of his peers make languid, self-consciously laid-back tunes, Graef makes brilliantly restless ones. Dropping the needle on one of his EPs, you nearly expect it to pop right off again.


Rivers of the Red Planet, Graef's first full-length and Tartelet's latest album project, takes all that wildness and refines, expands, updates and scrambles it. It's as ambitious and deviously entertaining a record as you'll hear in 2014, the fulfillment of Graef's desire to make anything but another contemporary house music album. At any given moment, Rivers of the Red Planet feels like it could have been recorded through the smoke at a jazz club in the booth at a techno club 30 years from now or inside an MPC stocked with crusty dollar-bin samples. (We'd guess the staff at Graef's beloved OYE Records in Berlin will have a difficult time settling on which section to file it in.) If it sounds sampled, it's a testament to Graef's natural musicianship and production prowess —the record is heavy on sounds he played himself, from drums and Rhodes to fat synth melodies wrung out of an old Crumar Performer water-damaged to perfection. For vocals, Graef enlisted Nigerian singer Wayne Snow, whose rugged soulfulness makes him a natural pairing. On cuts like "Drums Of Death" and "Speed Metal Jesus," the club- readiness of his EPs lives on. But Rivers of the Red Planet may be most at home in your living room, with a good bottle of red and a roaring fire's crackles mixing with the pops and hiss of the vinyl—a playful listen that sinks in, burrowing deep and getting you all warm and gooey on the inside.

Favorite Recordings proudly presents Deux, second album of French Jazz-Funk quartet Aldorande. In this new chapter, the four explorers pursue their interstellar trip on the Aldorande
planet, deploying their ever deeper love for the 70's Jazz-Funk & Fusion scene. Extending their first
visions of this new world, the bigger-than-life arrangements of this second album reflect again their
high attention to dramatic narrative schemes, breezy Brazilian vibes, tempestuous funky grooves and
strong cosmic melodies from outer space. Classic and contemporary at the same time, Deux is built
for the like-minded souls still looking for the perfect beat.
Twisting time and space but never forcing the groove, the band dives more profoundly into the
Cortex influence of their compositions, with intense female back vocals fitting perfectly into their
cinematographic vision. Like a cry in space, could these esoteric incantations be heard by Aldorande's
divinities? Or will they be more impressed by the super-tight rhythm section with its bangin' basslines
or an irresistible blend of drums and percussion? In the end, they probably would have to surrender
after hearing the infinite echoes of the synthesizers and horns reflecting in the atmosphere. Deep and
thoughtful, the travel has only begun but it seems that so much has already been experienced.
Breaking the code, they opened the gates to a rebirth. One that could be only accomplished by finding
the “Pierre des Mondes”, deeply buried somewhere on Aldorande - the only key to solve the riddle of
the groove. Mission accepted.
You'll find in Aldorande some of the best French jazzmen including bandleader and founder Virgile
Raffaëlli on bass (Setenta & Joe Bataan, Camarão Orkestra), Florian Pellissier on keys (Iggy Pop,
Setenta, Cotonete & Di Melo, …), Mathieu Edouard on drums (Chassol, De La Soul) and Erwan
Loeffel on percussion (Camarão Orkestra, 10LEC6). On this album, they took the initiative to invite
two guests on some tracks: AOR singer Al Sunny and killer guitarist Laurent Guillet (Le Soldat Rose,
Setenta).eir ever deeper love for the 70's Jazz-Funk & Fusion scene. Classic and contemporary at the same time, Deux is built for the like-minded souls still looking for the perfect beat.

Available on November 19th 2021 as Tip-On Vinyl LP & CD.

BMG is proud to present a brand-new reissue of Little Girl Blue, which has been justifiably celebrated as a timeless classic. In her essay written specifically for this release, Daphne A. Brooks, author of such acclaimed books as Liner Notes for the Revolution, puts it best when she asserts that Little Girl Blue presents “an astonishingly daring, dazzlingly confident, endlessly adventurous artist with a deep well of formidable instrumentality up her sleeve as well as a wide and robust, rich and varied knowledge of jazz, blues, American songbook, folk and spiritual standards and aesthetics.”

Little Girl Blue’s multi-phased release begins on June 1 with a digital release (on high-definition and standard audio) that coincides with African-American Music Appreciation Month, while August 13 is the date Little Girl Blue comes out globally on “clear blue” 180-gram vinyl, 180-gram black vinyl and CD. Additionally, this reissue boasts a fresh stereo mix done by four-time Grammy winner Michael Graves as well as a vinyl remastering by the renowned Kevin Gray.

Little Girl Blue features two of Simone’s most well-known tracks. Her sensational rendition of “I Love You, Porgy” was a big hit upon release, and was her only song to crack Billboard’s Top 20. Her jaunty performance of “My Baby Just Cares for Me” brought Simone renewed public interest after it was used in a popular 1987 Chanel No. 5 TV commercial.

Emilie Levienaise-Farrouch’s dark, throbbing score to
Prano Bailey-Bond’s horror debut ‘Censor’ is out now on
vinyl, after previously being released on digital platforms.
 The vinyl is pressed on clear vinyl with black smoke effect
and comes housed in a deluxe spined sleeve with double
sided printed insert featuring beautiful imagery from the
film.
 Emilie Levienaise-Farrouch manages to inhabit a space
between Ennio Morricone, Goblin and John Carpenter in
her stunning score to ‘Censor’.
 “I wanted the original score to focus on two different
elements of the film’s storytelling which slowly intertwine
as the movie progresses,” Emilie told Booklyn Vegan.
 “One sound palette represents the trauma of our lead
character Enid, with a use of manipulated vocals and
synthesisers, slow moving, almost suspended, and at
times disorientating cues, with short melodic motives, little
lullabies Enid might softly sing to herself to sooth her
anxiety and guilt of having lost her sister. The other palette
is much more anchored in the time period (1980s) and
genre the film explores.” She calls that second sound
palette a “love letter to classic Carpenter and Goblin
soundtracks, using vintage synths, rare Japanese
instruments and choirs to bring us deep into the fun,
surreal, and meta elements of the film.”
 ‘Censor’ received critical acclaim upon its release,
including a 5-star review in The Guardian, and is available
to watch now.

Richard Dawson is the diminutive Geordie troubadour
whose moving songs have been described as state-ofthe-nation addresses, even - or perhaps especially -
when he’s singing about pre-medieval peasants. Circle
are the genre-straddling pioneers of The New Wave Of
Finnish Heavy Metal, known for wearing spandex or
dead fish onstage and singing in a made-up language.
 Together they are… Richard Dawson & Circle! ‘Henki’
is their epic joint record. It might seem a departure to
those who are most familiar with Dawson from recent
solo albums like 2017’s ‘Peasant’ and ‘2020’ (released
in 2019). In fact, ‘Henki’ fits comfortably into the bigger
picture of two acts who have always strived for
uninhibited originality.
 Easily the greatest flora-themed hypno-folk-metal
record you’ll hear this year, ‘Henki’ adds an electrifying
new chapter to the remarkable story of each act,
marking the beginning of a beautiful partnership.
 CD in printed inner wallet with 12-page booklet.
 Double LP in printed inner sleeves plus digital
download card.

LP is limited to 1000 copies, black vinyl. Swansea Sound started in the middle of lockdown. They realised that fast, loud, joyous, angry indie-pop punk was the answer to being stuck indoors. Who needs introspection? Hue Williams is reunited with Pooh Sticks partner Amelia Fletcher (ex- Talulah Gosh, Heavenly). Rob Pursey (also ex-Heavenly) and Ian Button (Wreckless Eric’s live collaborator) provide the noise. Swansea Sound are the fast, acerbic and joyous past, present and future of indie. Four of the tracks were released as singles, all of them now impossible to obtain. ‘Corporate Indie Band’ was a limited edition cassette, ‘I Sold My Soul on eBay’ was a one-off lathe cut that got auctioned on eBay (with a £400 winning bid), ‘Indies of the World’ was a 7” inch single that briefly hit the UK physical charts, but immediately sold out and plummeted back out again. And then there was ‘Swansea Sound’: a requiem for a lost radio station; an anti-corporate lament - another limited edition cassette single. First track Rock N Roll Void gives a three minute revision session, just in case you’ve forgotten about The Ramones, The Kinks, The Buzzcocks and the brief explosion of indie noise pollution of 1986. Some of the songs are reflexive – ‘Swansea Sound’ and ‘The Pooh Sticks’. (Who else was going to write a tribute to The Pooh Sticks?) Others are searching for hope in the digital desert – ‘Let It Happen’, ‘I’m OK When You’re Around’, ‘Pasadena’, ‘Angry Girl’. ‘Je Ne Sais Quoi’ is pure pop throwaway fun. The others songs are dead catchy too, they just happen to express a sickness and a contempt for the state of things. ‘Corporate Indie Band’ is about a group who have mortgaged their creativity to a major label and sold their identities to an online marketing team of public schoolboys. Freedom of Speech takes a look at three contemporary ‘alternative’ music stars and considers how they’ve responded to BLM, the pandemic and the rise of right-wing populism. ‘Like self-serving arseholes’, is the unfortunate answer. (You won’t struggle to work out who the three ‘alternative’ stars are.) Swansea Sound took their name from a well-loved local radio station when it was given a corporate makeover in 2020. They even used the radio station’s abandoned logo. Like the indiepunk pop songs, something modern acidic and angry has taken up residence in a familiar, borrowed frame. You can throw yourself around to Swansea Sound like it’s 1986, but if you catch the lyrics you’ll remember you’re in 2021. (Sorry about that.) The Rum Puncheon, a notorious pub in Swansea, closed down decades ago.

Perhaps best known as the frontman of South London indie pop / power pop outfit Bromide or being the worst salesman in Cargo Records…, Simon Bromide (aka Simon Berridge) has announced he will be releasing a solo album 'Following The Moon' in late autumn via Scratchy Records with distribution by Cargo Records. Ahead of this, he presents the lead track 'The Waiting Room'. ‘Following The Moon’ is essentially a solo album - with a lot of help. It was recorded at Bark Studios in Walthamstow by Brian O’Shaughnessy (Primal Scream, My Bloody Valentine, Beth Orton), who had worked with Berridge on the last two Bromide albums. The album features drummer Fells Guilherme (Children of The Pope), bassist Ed ‘Cosmo’ Wright, multi-instrumentalists Dave Hale, Dimitri Ntontis and Stephen Elwell as well as folk-pop chanteuse Katy Carr on piano and Terry Edwards (Nick Cave, Tom Waits, P.J.Harvey) on trumpet. Scottish singer Julie Anne McCambridge joins Simon on the closing track, the William Blake penned ‘Earth’s Answer’. This is Berridge's first output since Bromide's 'Ancient Rome' and 'I'll Never Learn' singles, both released in 2020. Their most recent album 'I Woke Up', with singles 'Magic Coins' and 'Two Song Slot', was met with popular acclaim, receiving positive reviews and airplay in dozens of countries. Influenced equally by The Beatles, Neil Young, Mark Eitzel and Bob Mould, Simon Berridge creates ultra-catchy, jangly acoustic pop / electric rock. Album track ‘The Skehans Song’ pays homage to the club and features the ‘Easycome choir’ with Andy Hankdog, Scarlett Woolfe and Vincent Davies. “A febrile soul who can do pop in many voices” ~ Melody Maker "Simon Berridge's voice is as strong as ever, with the songwriter only gaining in sound and fury” ~ Clash Magazine “Romping, indie-pop blast“ ~ The Times "This is catchy, upbeat, well-structured and impeccably delivered – with a winner of a debut release, Simon Bromide has our attention" ~ The Spill Magazine “Memorable slices of acoustic whimsy” ~ Q magazine “Berridge has an ear for a canny tune and a keen lyrical eye for detail... Ray-Davies-meets-Lloyd-Cole crooning” ~ The Big Issue