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On Labyrinth, Heather Woods Broderick serves as our reflective host, subverting expectations of conventional songcraft with impressionistic language and quietly relentless explorations of the human experience that's at once light and dark, more circular and less linear. "Many of us yearn for stillness and peace, as an escape from the movement all around us," she explains when asked about the themes of the album. "Yet movement is perpetual, happening all the time on some level. It's as wild as the wind, yet eternally predictable in its inevitability. It is linear in part, but infinite in its circuitry. Our lives just punctuate it." Broderick began crafting Labyrinth in March 2020, when most forms of move- ment were brought to a screeching halt. The Maine-born, Los Angeles-based songwriter _ who, in addition to her work as a solo musician, built a life playing and touring with acts such as Sharon Van Etten, Beth Orton, Damien Jurado, and Efterklang _ was suddenly forced off the road for the first time in her career. She used this disruption as an opportunity to pare down her creation process and construct the scaffolding for Labyrinth in her apartment. Employing only the most crucial tools at her disposal, Broderick found herself opening different artistic doors as she focused on sharpening her recording skills, capturing the majority of the album on her own before finishing the remainder with co-producer D. James Goodwin. For all of Broderick's sage lyricism and vocal authority, Labyrinth never provides the listener with any easy answers. If the image of the labyrinth represents the enormity of modern life and the difficulty of navigating it, Heather Woods Broder- ick provides a guide to its endless kinetic wonders _ of being present, aware, and connected despite its disconnects. She describes the texture of its walls, its indifferent rhythms, and the inherent poeticism of feeling lost amid the dead-ends and unexpected turns. At this point in our history, perhaps that's all we need to keep moving.

38 Spesh has quietly become tastemakers’ top pick for “next to blow.” Just ask LeBron James, Kevin Durrant, DJ Premier, Sway, Method Man, or Lloyd Banks, all of which have co-signed this Upstate New York emcee. His 7 Shots EP, the third and final instalment in his fan-favorite “Shots Series,” marked the moment that many caught on to the TRUST movement. The 8 track offering gives underground Hip-Hop fans exactly what they want, hard bars over soulful beats. The project features guest verses from Freeway, Ransom, Eto, and Che Noir, as well as production from Streetrunner, The Heatmakerz, LT Beats, Thanos Beats, and more. Mixed and mastered by Chris Pinset Cover by Laz Art Direction by Jordan Commandeur A&R by Ransom









[h] B4. Last Gasp (feat. Ransom & Tearz) [7 Shots Version] (prod. by Mayor, Ty Jamz & Bernard B. Westwood)

Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.

Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).

This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.

While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.

This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.

Eco Coloured Edition

Elena Tonra ist zwar keine passionierte Schwimmerin, aber der Sound auf dem neuen Daughter Album "Stereo Mind Game" klingt wie ein Ozean, in den man eintauchen möchte. Das dritte Album der britischen Band, gleichzeitig das erste Studioalbum seit sieben Jahren, setzt sich damit auseinander, was es bedeutet, von geliebten Menschen und auch von sich selbst getrennt zu sein - ein komplexes Thema. Daughter, das Trio bestehend aus Elena Tonra, Igor Haefeli und Remi Aguilella - wurde 2010 gegründet. Nach der Veröffentlichung von zwei Studioalben, "If You Leave" (2013) und "Not to Disappear" (2016), und dem Videospiel-Soundtrack Music "From Before the Storm" (2017), beschlossen sie, eine Auszeit voneinander zu nehmen. Kurz zuvor jammten sie allerdings noch gemeinsam in Los Angeles, zwischen einer Support-Tour für The National und ihren ersten Headline-Shows in Südamerika. Hier begann die Arbeit am neuen Album. Danach herrschte erst einmal Stille - als Band und untereinander. In den nächsten Jahren, in denen die Mitglieder an ihren eigenen Projekten arbeiteten, darunter auch Tonras Soloplatte als Ex:Re, trafen sich Daughter gelegentlich zum gemeinsamen Schreiben in Studios in London, Portland und San Diego, wo Haefeli 2019 für sechs Monate lebte. Die zentrale romantische Figur der Platte ist jemand, den Tonra dort kennengelernt hat, als sie aus London zu Besuch kam. Sie teilten eine bedeutende Verbindung, aber sie wusste, dass der Atlantik zwischen ihnen liegt. Daughter begann 2021 konkret mit den Aufnahmen für die zwölf Songs des Albums. Haefeli, der in Bristol lebt, traf sich mit Tonra in den Middle Farm Studios in Devon. Aguilella, der in Portland, Oregon, lebt, nahm seine Schlagzeugparts im Bocce Studio in Vancouver, Washington, auf. Haefeli produzierte eine Reihe der Songs, während Tonra "Junkmail" produzierte. Den Rest haben sie gemeinsam produziert. Die Sehnsucht, physische Entfernungen zu überwinden, ein Gefühl, das sich während der Pandemie noch verstärkt hat, ist in viele dieser Stücke eingeflossen. Auf "Wish I Could Cross the Sea" hören wir Sprachnotizen von Tonras junger Nichte und ihrem Neffen, die in Italien leben. "(Missed Calls)" enthält eine weitere Sprachnotiz, in der ein Freund einen Traum beschreibt. Gefüttert mit einigen modularen Effekten, klingt er geisterhaft eindringlich. Diese Nachrichten, Versuche einer Verbindung von geliebten Menschen, die man nicht sehen kann, "können einen aus dem Brunnen ziehen", sagt Tonra - aber nur, wenn man den Hörer abnimmt. Wenn man andere hereinlässt, kann Schönheit entstehen. Tiefes Gefühl kommt von den Bögen des 12 Ensemble, dem in London ansässigen Streichorchester, das bei vielen Stücken des Albums zu hören ist. Die von Haefeli und Tonra arrangierten und von Josephine Stephenson orchestrierten Stücke wurden, passenderweise, im The Pool aufgenommen, einem Raum in Bermondsey im Süden Londons, der eine ehemalige Badeanstalt war. Ein Blechbläserquartett verleiht auch "Neptune" und "To Rage" eine wohlig klangliche Wärme. Während Daughters frühere Arbeiten ihre Kraft in ihrer entwaffneten und emotionalen Ehrlichkeit fanden, handelt "Stereo Mind Game" von gegensätzlichen Gefühlen. "Es geht darum, nicht in absoluten Kategorien zu arbeiten", sagt Haefeli. Nach mehr als einem Jahrzehnt, in dem sie die dunkelsten Emotionen darstellten, haben Daughter ihr bisher optimistischstes und ein fast schon strahlendes Album aufgenommen.

"We've now been at this since 2010 and over the years we've really tried to deliver the kind of house music (and beyond) that we would play, listen and dance to ourselves.
We really tried to avoid the dangerous traps of following trends which in the long run can water down labels to just a music portal instead of a music brand with character.

Basically, we aim to deliver our own musical personality via artists and producers that we love and respect. To sum things up, we are proud to present Local Talk - 13 Years Later.

On this 13 Years Later compilation we reached out to some of our friends on the house scene and as always, we try and aim for a wide spectrum of styles.
You'll hear everything from classic house, deep house and soulful house to Detroit(ish) and Jazz(ish) from some of our fave producers.

We sincerely hope you will enjoy this selection of dance MUSIC as much as we do and that there's something for everyone on our compilation."

The Bluebeaters landmark debut album from 1999 receives a first-ever vinyl release. Featuring band's hits like Cher's "Believe" or Black's "Wonderful Life" all cooked in a strictly mid 60s Jamaican Blue Beat & Rock Steady style. Gatefold 2LP clear vinyl with printed inserts, limited to 500 copies, instant collector's item.

Record Kicks in collaboration with Universal Music Italy presents the release of The Bluebeaters seminal debut LP "The Album" for the first time ever on wax on a limited edition clear vinyl double LP on March 31. Way before the vinyl comeback of the 2010s, "The Album" was released in 1999 on CD and on two limited edition promo 12"s that are now very in-demand in the scene on V2 Records. "The Album" marked a generation of Soul, Rock Steady and Reggae fans in Italy selling over 40.000 physical copies and now 24 years after its original release, it gets published on full vinyl.

Fronted by "The King" Giuliano Palma on vocals backed with members of cult Italian bands of the 90s such as "Casino Royale", "Africa Unite" and "Fratelli di Soledad", The Bluebeaters' analog recordings finally find the vinyl format they deserve. On the album's track list you can find Jamaican music classics such as "World's Fair" from the Skatalites, Joe Higgs' "There's a Reward" or Bob Marley's "Coming In From The Cold" mixed with hits such as Cher's "Believe", Black's "Wonderful Life" or even 1978 "See You Tonite" by Gene Simmons from The Kiss that perfectly sound as if they were recorded by Clement "Coxsone" Dodd at Studio1 in Kingston in 1966.

The Bluebeaters are not newcomers on Record Kicks, the Milan label released their "Everybody Knows" album in 2015. Top Italian musicians in love with vintage Jamaican ska and reggae and blessed by Ken Booth, during the last 25 years of their career they headlined festivals like Rototom Sunsplash and International Ska Fest in London. Among their fans, they count the likes of Gaz Mayall, David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites).

The reissue of The BB's "The Album" is part of Record Kicks' 2023 initiatives to celebrate its 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks, has been pitching the contemporary funk & soul scene since 2003. With over 250 physical releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who sampled the label's catalogue.

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

2023 Repress

Roots Reggae-Klassiker aus dem Jahre 1982 im Original Artwork neu aufgelegt. Die Henry 'Junjo' Lawes Produktion entstand seinerzeit im Channel One Studio mit den Roots Radics in Top-Besetzung und wurde von Scientist im King Tubby's Studio abgemischt. Johnny Osbourne gehört zu den ganz Großen der jamaikanischen Künstler, und "Never Stop Fighting" ist einer der Höhepunkte seiner Karriere. Die Songs "Love Is Universal", "Give A Little Love", "In Your Eyes", "Never Stop Fighting" und "Over 31 Under 21" sind zeitlos und bilden die Basis für das Dub-Reggae-Kultalbum "Scientist Wins The World Cup". Ebenfalls erhätlich: Johnny Osbourne "Reggae Legends" 4CD Box-Set (Artikel-Nr. GRE2080 Barcode 601811208021) inklusive der CD zu dieser LP.

180g clear vinyl. This is for Indies only. Milan/London experimental band Throw Down Bones are returning with their new album 'Three' on February 24th. A towering body of work that feels both apocalyptic and jubilant, 'Three' is Throw Down Bones' eagerly-awaited return following 2018's 'Two' and the tragic passing of founding member Dave Cocks in a motorcycle accident in 2019. Choosing to continue the band in honour of Cocks, in February 2020, surviving co-founder Francesco Vanni returned to London's New River Studios with long-term collaborator and producer James Aparicio (Spiritualized, Nick Cave) and a new band in tow, made up of bassist Marion Andrau and drummer Raphael Mura. Working in the studio with the new band for the first time, several hours of improvised recordings were captured over the course of those early New River sessions, which were then expanded and pieced together between Aparicio in London and Vanni in Milan. Ready to lacerate eardrums and send into a trance once more, the result is a 9-track album spanning feedback-blasted industrial psychedelia, heavy electronics, krautrock and dark ambient. Overcoming huge psychological and practical difficulties, 'Three' is a powerful and moving record in more ways than one - a post-industrial triumph that's at once hedonistic, cathartic and poignant. Describing 'Three' and its intentions, Vanni says: "This album tries to reverse the usual band-listener interaction. We hold no truth and we're not willing to serve any universal answers to anything. Instead, we question the listener who, according to their experiences and sensitivity, will find a reply for themselves. That's the role of instrumental music and why we love it so much. It brings the listener to the centre of the project, giving them an active role in translating music into meaning. Every single note in this album is dedicated to our brother Dave Cocks."

Rootz Lions Band share the love for conscious roots reggae music & are dreadicated to taking the music forward in these times.

Bassplayer Carlos Silva is the founding member of the band. In 2016 he gathered some of the Dutch reggae scene's most experienced musicians, each of them having previously played with top local and international artists - most recently the band have performed with Army, Prince Jamo, Donovan Kingjay, Black Omolo, Iyiapo Tafari, Chezidek and more.

MLK is a singer from Sierra Leone, based in the Netherlands. He performs regularly live with bands and in 2018 released the acclaimed LP 'The World Is In Trouble' with The Breadwinners on the Bionic Dread label.

King Cooper (AKA King Kooper in the Jazz world) from Amsterdam has a long & fascinating career, playing reggae, jazz, funk & soul with the likes of Doe Maar, Sister Sledge, Coopertest & many, many more... proving himself as one the world's top saxophonists.

Hornsman Coyote from Belgrade, Serbia is one of the leading Trombonists in the modern reggae scene and works regularly with top producers & labels internationally, such as, Lee Perry, House Of Riddim, Rolling Lion, Jah Works, Earth Works, Jerry Lions to name but a few. His career started as the front-man for Belgrade Hard-Rock-reggae crossover band, Eyesburn & is a singer songwriter in his own right with a huge catalogue from over 20 years of continued performance & recording.

Plunder was recorded and mixed at Earth Works Studio, Amsterdam

Standout track Disco currently sits at 88 million plays on Spotify. Surf Curse has over 8 million monthly listeners on Spofity. Departing from the overblown visceral sound of previous Surf Curse records, 2019’s Heaven Surrounds You is a bold step towards HIFI for the Los Angeles DIY scene veterans. The polished orchestral production and driving cinematic moments would feel at home in any of the cult films that inspired the album’s coming-of-age stories. Lyrically, the record finds the duo returning to themes of love, loss and mystery veiled beneath more symbolism and mysticism creating their most emotionally poignant record to date. One ingredient the band doesn’t change is the earworm guitar melodies and massive hooks that have always fueled their famously raucous live shows

Valencian producer Pépe's love of iridescent melodies, velvety pads and complex rhythms has seen him skilfully combine house, bass music and breakbeat in recent years. His music is globally reaching, having garnered attention from top artists including Ben UFO, Peggy Gou, Shanti Celeste, Moxie, Mount Kimbie and Disclosure.

His heartfelt, mercurial and emotive sound is ever present on his new album for Lapsus, which also incorporates a lush sonic forest, resplendent in detail and jam packed with influences. The album 'Reclaim' opens the door to experimentation and sound design, while embracing the braindance and hyperpop sphere with surprising maturity. It is an amalgamation of electronic sounds and pulsating structures in which orchestral sounds, folk music, ambient textures and an strong vocal presence, both synthetic and authentic, sparkle.

'Reclaim' imagines a post-human future, where nature once again reclaims lost ground and is free to flourish and take root around manmade structures. Pépe exhibits his personal reverence for the work of Antonio Cortés Ferrando, the architect behind the Espai Verd building, which broke architectural and urban planning norms by using computation to create structures that promote the organic growth of foliage. It is a building designed for the future, where flora cultivates indefinitely.

In Pépe’s own words, "At a time when we have witnessed how nature strives to regain ground, once humans are removed from the streets, it is important to start thinking critically about new techniques in the creation of art and design, and imagining a future where posterity is embodied in the rejuvenation of a greener world".

A tribute to the late Kenny Hawkes, London's dark lord of house music. Lovingly selected and curated by Luke Solomon, Jonny Rock and Leon Oakey.

Running from 1995 to 2002, 'Space' was a Wednesday night founded by Kenny Hawkes and Luke Solomon. It inhabited the underground world of Bar Rumba right in the heart of London's West End and took place each and every week. Kenny and Luke had both been regular fixtures on infamous London Pirate Radio station 'Girls FM', and were seeking a suitable place to play the kind of music they supported on their respective radio shows. They were presented with a weekly opportunity at Bar Rumba and snapped it up.

'Space' was THE place for 7 solid years, hosting local and international guests from the house music community week in week out, to 200+ hardcore and dedicated followers. Regular guest bookings read like a 'who's who' of the music scene with sets from Derrick Carter, Andrew Weatherall, DJ Harvey, Tom Middleton, A Man Called Adam, Ralph Lawson and Huggy, Harri and Domenic, Francois Kevorkian, Salt City Orchestra, Carl Cox, Chez Damier and Ron Trent.... the list goes on and on and on! Music from seminal record labels such as Classic, Prescription, Cajual, Paper, Relief was played on rotation amongst a killer mix of Disco classics, alternative 80s music, left-field B-sides and techno. The night undeniably became a cauldron of amazing music and midweek hedonistic chaos.

As Soho changed beyond recognition and clubbing moved Eastwards, Kenny and Luke decided to call it a day. Sadly, Kenny Hawkes died in 2011, leaving a huge hole in the dance music community. Kenny was a legendary figure with an unmistakable sound and DJ style, he had a warped sense of humour and a huge personality and he continues to be dearly missed by all to this day.

As a tribute to Kenny, his musical partner in crime Luke Solomon alongside 'Space' regular and DJ / Editor supreme Jonny Rock, and former Classic Records label boss Leon Oakey have joined forces to celebrate his life through music. 3 years of tweaking, pooling music and clearing tracks have culminated in 2 very special double albums and a digital compilation. A collection of 'Space' classics, underground jams and the tracks that shook the Shaftesbury Avenue dance floor, shaping one of London's most revered midweek sessions.

All profits from the compilation will be donated to the British Liver Trust.

The soundtrack to the 2006 film Casino Royale was composed by David Arnold and is Arnold's fourth soundtrack for the popular James Bond movie series. Frequent collaborator Nicholas Dodd orchestrated and conducted the score. The traditional James Bond Theme builds throughout the film before appearing in its full form over the end credits as track 25, “The Name's Bond... James Bond”.

Casino Royale takes place at the beginning of Bond's career as Agent 007, as he is earning his license to kill. The plot has Bond on an assignment to bankrupt terrorist financier Le Chiffre in a high-stakes poker game at the Casino Royale in Montenegro; Bond falls in love with femme fatale Vesper Lynd, a treasury employee assigned to provide the money he needs for the game. The film begins a story arc that continues in the 2008 film, Quantum of Solace.

Casino Royale is available as a limited edition of 1500 individually numbered copies on gold coloured vinyl. The vinyl package includes 2 printed innersleeve, a large movie poster and features secret inscriptions in the run-out groove.

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of Lee’s drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

Balearic believers rejoice! Japanese tropical-fusioneers Coastlines are back with the worldwide vinyl release of Coastlines 2. The follow-up to their classic debut, this is the sound of Coastlines's global influences. If the dedication to intricate sonic details is particularly Japanese, the overarching feel captures the sprawling grandeur of the international balearic community. As they put it, Coastlines 2 presents "a more precise and beautifully polished magic hour." If that isn't Balearic, we don't know what is.

Takumi Kaneko and Masanori Ikeda don’t radically alter their sumptuous template with this second LP; and we wouldn't want them to. Yet with a more focused flow from first track to last, both Coastlines and Be With feel this is an even stronger album than their first. One thing that hasn't changed is the use of instrumentals instead of words to express their themes; namely, "the emotional expression of being soaked."

Opener "Tenderly" is appropriately titled, a gentle Latin shuffle easing you back into the Coastlines sound. An organ-heavy synthy exotica that's in step with Lovelock's contemporaneous "Washington Park". Their über-horizontal take on Hawkshaw & Bennett's "Mile High Swinger" (from Synthesiser And Percussion, reissued by Be With!) evokes cocktails-by-the-pool as the sun slowly sets. The blunted deep jazz-funk swing of "Alicia" is a rearranged reimagining of the Gabor Szabo song from his classic Jazz Raga LP. This here sounds like an outtake from The Chronic.

As the sun goes down, "Combustione Lenta" soundtracks the relaxing slow burn of an idyllic bonfire on an isolated beach. Displaying a beautiful new side of Coastlines, we're treated to Moments In Love vibes and melancholic guitar arcs. The piano-laden early morning wonder of "Night Cruise" started life as a completely different song, but the duo found a particularly good loop from the initial sketch and reconstructed it into this sophisticated 80s instrumental soul groove. "Waves And Rays" is all undulating acid waves and lighthouse light. A chopped and screwed steel drum G-Funk with soaring synths and nods toward the squelchy machine soul of Mtume and Jam & Lewis. Yes, *that* good.

The bouncy futureboogie cosmic chug of "Sky Island" represents the beginning of the sunrise, casting images of 80s Japanese fusion and definitely one to play out early doors to get the crowd stepping. "Area Code 868" is the strutting staccato sound of Joe Sample waking up in the Caribbean to craft his piano funk drenched in sunshine. Accordingly, the tentative, naive melodies of "Sand Steps" represent that vivid feeling first thing in the morning, as you step on to the sandy beach in the sunshine and take a deep breath. The world is yours.

The emotional, organ-piano-steel drum-driven "Song For My Mother" is a slo-mo show of sincere gratitude to all the great mothers. "Yasmin's Theme" is Coastlines's Brazilian homage, recalling for them that early summer feeling. It's propelled laconically by the carnival beat of batucada`s big bass surdo drum and complimented by sweeps of warm keys and radiant vocal harmonies. Blissful beatless closer "Asafuji" conjures a scene from a wonderful morning spent with the people of Shizuoka, the symbolic mountain of Japan, Mt Fuji and its inhabitants. It sounds like Dâm-FunK jamming with Sabres Of Paradise.

Coastlines 2 was painstakingly crafted, across the pandemic, at Masanori's rented place in Tokyo and then brought back to his home studio and worked on slowly and repeatedly. With limited time to see each other, the duo became more united in their "consciousness with natural progress."

Mastered by Simon Francis and cut by Cicely Balston at Air Studios, this magnificent double LP has been pressed by the good people at Record Industry.

180 g, Side D etched, matte UV Poster, Trifold Jacket, red foil debossed "D"&"M", Poster

"Memento Mori" stellt Depeche Modes insgesamt 15. Studioalbum dar, während Gahan und Gore nach dem tragischen Tod von Bandmitgründer Andrew "Fletch" Fletcher im Jahr 2022 den ersten Longplayer in zweiköpfiger Besetzung vorlegen. Produziert von James Ford mit Unterstützung von Marta Salogni reifte "Memento Mori" während der Frühphase der weltweiten Covid-Pandemie heran; eine Periode, die auch einen thematischen Einfluss auf die Songs hatte. Die 12 Albumtracks schlagen die Brücke zwischen einer Vielzahl von Stimmungen und musikalischen Texturen - angefangen beim bedrohlichen Opener bis zur Auflösung am Schluss spannt sich das Gefühlsspektrum von Paranoia und Besessenheit bis hin zu psychischer Befreiung und Freude sowie zahllosen emotionalen Zwischentönen. Mit der Single "Ghosts Again" geht der Albumveröffentlichung von "Memento Mori" ein eindrucksvoller Vorbote voraus. Der Song stellt schon jetzt nicht weniger als einen lupenreinen Depeche Mode-Klassiker dar: Dave Gahans bilderstarke Lyrics wie "wasted feelings, broken meanings... a place to hide the tears we cry" verbinden sich über einem erhebenden, optimistischen Groove mit einer hypnotischen Gitarrenfigur von Martin Gore. "Für mich fängt `Ghosts Again` das perfekte Gleichgewicht zwischen Melancholie und Freude ein", so Gahan. "Es kommt nicht allzu oft vor, dass wir einen Song aufnehmen, den ich mir nicht nur immer und immer wieder anhören kann - ich freue mich auch riesig, ihn mit der Welt teilen zu dürfen", ergänzt Gore.

Elias Devoldere is the drummer in bands such as Nordmann, Hypochristmutreefuzz, Suwi, Robbing Millions, and John Ghost. Following an ep, Kaiku, released last summer, Bloomed > Exploded is his debut full length as a solo artist. Besides writing and singing, he composed, played, recorded, and produced the bulk of the ten songs himself. 'Everything blooms', he explains the title of his first album. 'Until it explodes, and something else is able to grow from it'. In this case, what came full cycle is an intimate coming-of-age album of intangible atmospherics, crisp melodies, and understated rhythmical patterns.

BLOOMED >

'As a kid, I just wanted to play football, you know?', says Elias. 'But when I was eight years old, my parents made me choose between drawing school and music school'. And thus began a dedication to rhythm for Elias. At 18, he enrolled at the Royal Academy of Fine Arts in his hometown of Ghent, opting for a jazz education. 'Not because I aspired to become a master 'jazz drummer', but to learn music, to become a good musician'. It was at the academy that, after an impromptu jam session, Nordmann first came together. The exhilarating instrumental quartet went on to win second place at the prestigious Humo's Rock Rally in 2014, and released three albums to critical acclaim, with a new one in the works.

Devoldere, in the meantime, had completed his degree with a craving - ironically - for music. 'I was in over my head with jazz for such a long time, and went on an epic discovering spree. Moses Sumney, James Blake, Kendrick Lamar, Connan Mockasin... Lots of stuff I had missed over the years. In a way, I reconnected with the kind of music I was into before jazz dominated my life. Pink Floyd was my first love, for instance, and later Radiohead proved to be a game changer. Diving back into those kind of sounds, I was feeling the urge to follow my old dreams, of being a solo artist - or something more than 'just' a drummer, anyway. So I bought a guitar, an interface for my laptop, and started writing'.

EXPLODED

When he released his 5 track ep Kaiku in the summer of 2021, it summarised a lot of firsts for Elias. First time writing lyrics, first time as a lead vocalist, first time recording his own songs all by himself. The songs had been around for a while, but taking those leaps took a long time. 'Making the ep helped me to find my voice, in every way possible'. Still, in the aftermath of the pandemic, the songs on Bloomed > Exploded sprouted in a time of upheaval. 'Musically the album is quite serene, gentle even. But the themes speak of internal unrest and uncertainty. There are a lot of questions on the album, as it turned out. Duality, as the title suggests, coming from the struggle between a wish to turn everything upside down and a search for peace. Honestly: the prospect of my 30th birthday was messing with my head too'.

Recording during a period of solitude in France, Elias initially relied heavily on synthesizers and drum machines. 'Explode / Boalis was one of the first songs I wrote for this album, and pivotal for its atmosphere, based mostly on electronic elements. Later, I did use 'real' drums on most of the other songs, though, and contributions from other musicians, but the overall mood is very cohesive'. 'Pure', that's how Bruno Ellingham, the UK engineer who mixed the album, described it. Much to the delight of Elias, who reached out to Ellingham because of his previous work with bands such as Massive Attack and Portishead. 'Hearing the end result, I thought he really captured the essence of the original demo's. For me, that adds to this album being a sincere reflection of my true self. 'Take a dive/ Into the place where it's more quiet', as I sing in the last song, that kind of sums it up for me'.

Sometimes, a change of view can transform a person’s world. On ‘Don’t Come Down’, the artist formerly known as Matt Pond PA can be found with his “shoulder on the concrete” of a pavement, scoping out the world anew. This granular realignment of perspective serves as an open door to the debut album from The Natural Lines. At once clearly Pond’s work yet a huge leap forward in its measured songcraft, melodic immediacy, collaborative detail and wryly questioning lyrics, the result is a gorgeous album of intimate reflections from a relocated, renamed, revivified talent.

Recorded with close collaborators and friends over a period that saw Pond make vital adjustments to his life, its stealth emergence reflects his desire to set a fresh pace for himself and come from somewhere new, somewhere more open.

Now based in Kingston, New York, with his partner and wild dog Willa, Matt explains the album’s gestation thus. “It was something different from the start. I wanted to write as purely as I could. Instead of getting stuck in the ‘tour, write an album, release an album, tour’ cycle, which is not a natural way of writing or living, I wanted to write an album and when it was done I wanted to make sure it was done. I didn’t want this feeling of, ‘Oh, we didn’t have time’, or, ‘I don’t know whether I believe in the songs but it’s coming out anyway.’ I used to be always racing to the finish line, but I’m not anymore.”

For Matt, the call to ring the changes came with the recognition of “a certain nihilism or narcissism” involved in making music. “In some ways, you have to get in your own head and I think I went too far with that, with drinking and shutting people out. In something that I believe is collaborative, it’s not helpful.”

“I quit lying,” he adds. “I checked my harsher tones. I cut my drinking down. I went to therapy and figured out how to stop shouting at cars.”

Car troubles inspire ‘No More Tragedies’, the album’s standout second track, where he wryly details his desire to dampen his twinned impulses to take pictures of license plates blocking his parking space or take bricks to said car windshields. Warming melodies and harmonies soothe his rage, a balance maintained elsewhere on the album.

A need for connection underpins the lilting ‘Alex Bell’, where Matt’s lyrics playfully reference the inventor of the telephone over a plaintive cello and bubbling keyboards – evidence of the album’s carefully nurtured arrangements. With nimble sequencing, ‘My Answer’ follows with a question: do artists really need to get messed-up to create? Matt may not have the answer, he admits, but he articulates the question beautifully, channelling the influence of Blue Öyster Cult’s ‘Don’t Fear The Reaper’ into a song of fleet, melodic electric-folk drive.

Featuring 17-year-old MJ Murphy on misty backing vocals, the softly insistent ‘Don’t Come Down’ is an album centrepiece, detailing a need to see things anew. Like The Flaming Lips writing a classicist piano ballad, the twinkling ‘Artificial Moonlight’ finds Matt writing late at night, illuminated by the lights from streetlamps. Finally, ‘Mahwah’ closes the album on a note of arrival. While Matt Pond PA’s albums emerged from the disconnection of touring and living in vans, Pond is now happily – cruel winters aside – ensconced in Kingston. “I have found a place I love. Mercury Rev lives near here. It is a cool place to be, an artistic, mountainous, wild place to live. So – maybe this is it.”

In the case of The Natural Lines, a sense of arrival suggests itself. For Matt, the album follows two decades’ worth of Matt Pond PA records and soundtrack works. In a career he once described as “a series of benign mistakes,” Matt travelled far, moving from his band’s starting point in Philadelphia to Florida, Oakland and beyond while releasing 14 well-received albums. In 2017, he declared his intent to retire the Matt Pond PA name, though it lived on briefly in the reissue of The State Of Gold and EPs such as Free Fall, a tribute to Philadelphia.

Now, the name change honours his collaborators. Among a revolving cast, one constant presence in his work has been Chris Hansen, who plays guitar, bass, keys, saxophone and vocals on The Natural Lines’ debut. Matt’s partner, Anya Marina, contributes vocals. Other band members number Hilary James (cello/vocals), Kyle Kelly-Yahner (drums), Louie Lino (keys), Sarah Hansen (horns), Sean Hansen (drums/bass), Kat Murphy (vocals) and, also on vocals, MJ Murphy, for whom Matt brims with praise: “She can do anything she wants to musically.”

A heartening rebirth for Pond and his friends, the result also pays warming, witty, reflective and infectious testimony to the value of reconfiguring one’s outlook. “Once I took control of my mind, I could see what I wanted to say more clearly,” says Matt. “Instead of random floods of mania and panic, I felt like I was composed and composing. It has become as simple as reading the words of a sentence in the right order. As small as the pause before I hit ‘send’.” A development, you might say, conducted along the most natural of lines.

The Man Called Love Drop is back with his highly anticipated 3rd release on his sell out series of rework disco rockets.

His deeply enchanted, almost spiritual form of mutant disco packed full of never ending grooves and heavy delays conjures up fond memories of early Moodymann jams. And his releases have attracted plays and support from discerning jocks around the globe such as Gilles Peterson, Art Of Tones, Horse Meat Disco, JKriv, Dicky Trisco and many many more.

A digger's desire for an original source blended together with a dancer's feel for the floor produces a powerful magic spell that is ready to be let loose on your dance floor.

So let's go!

'Unconscious Collective' is the first album by PS5 - the new ensemble led by Pietro Santangelo (Nu Guinea, Slivovitz, Fitness Forever) - and it will be out for Hyperjazz Records on 21th May 2021.

It's a musical experiment where layered memories and hidden feelings resonate as if they arise directly from the most recondite part of the unconscious and produce a suspension of the stream of consciousness. With the aim to create a state of trance and override the human reason, this is an imaginary round trip across the Mediterranean Sea and the Atlantic Ocean, ideally connecting Naples with North Africa and Latin America.

The arrangements wrote by Santangelo are based on great freedom of improvisation: while the melodic textures of the two saxophones didn't give any clear references, the other musicians followed the rhythmic pulse and its unpredictable ways. The music moves naturally along an imaginary line highlighting the ancestral connection between Jamaica and Ethiopia or between Nigeria and Cuba. In the background, Naples is a synthesis of all the sonic ingredients, mixed and cooked in its own mystical and spicy belly.

Besides Santangelo himself on the tenor and soprano saxophones, the collective is made up of: Paolo Bianconcini, a brilliant Neapolitan percussionist with a very deep Afro-Cuban background; Giuseppe Giroffi, young and talented alto and baritone saxophonist; the bassist Vincenzo Lamagna and the drummer Salvatore Rainone, both loyal members of the former Santangelo's trio.

Recorded live at the Auditorium Novecento in Naples, the legendary studio of Phonotype Records, 'Unconscious Collective' is mixed in analog format by Fabrizio Piccolo, and mastered by Davide Barbarulo at his 20Hz20KHz Studio.

Pietro Santangelo

Pietro was born, lives and plays in Naples. As a saxophonist and composer, he has released five albums with Slivovitz and one with his PS3 trio (Clinamen, Emme records 2017). Graduated in Digital Sound Processing at the Faculty of Physics of Federico II University, he is involved and engaged in the Italian scene of radical improvisation (Franco Ferguson, Elio Martusciello and Officina Arti Soniche, Collettivo NISE).

Multi-instrumentalist since forever, he has collaborated with Nu Guinea, Enzo Avitabile, Fitness Forever, Marzouk Mejri, Dennis Bovell and many others.

He's also author of soundtracks and electronic musician. He appreciates analog photography, loves walking outdoors. He hates biographical notes.

The impossibly cool 1973 album What's Going On from Late, Great Japanese Funk & Jazz Don Takehiro Honda which swings through jazz orchestral renditions of American R&B and Funk Classics like Marvin Gaye's "What's Going On,"

Otis Redding's "Sitting On The Dock of the Bay," and James Brown's "Ain't It Funky Now" turning them into the most Down Home, Grits 'N' Gravy Grooviest Versions and sounding like they were recorded at the studio of the band that taught the Memphis Rhythm Sections all they ever were gonna need to to know.

As well as the aforementioned tracks the album also iconic funk/soul gems from the Impressions (Check-Out Your Mind) & Soul Jazz covers from Eddie Harris (Sham Time), The Crusaders (Greasy Spoon) and a Pacific Soul Jazz Classic in "Ain't Tell You A Good Way But" which was composed by Takehiro Honda.

Original copies regularly change hands for eyewatering sums and the album is seen as a much loved classic of it's era.

The Schnitzelbeat goes on ..... und wir finden uns am Übergang zweier Jahrzehnte wieder. Woodstock hat gerade das offizielle Ende des Summer Of Love besiegelt, die Beatles befinden sich im Stadium des Zerfalls und The Stooges läuten mit unbarmherzigem Lärm ein neues Zeitalter ein. Zurück in Österreich ... die Stadt Wien dämmert weiterhin selig im bornierten Mief der Nachkriegszeit. Gelegentlich weht der Wind den Klang einer Ziehharmonika und eines Jodlers vom Land in Richtung Stephansdom. Die eingeweihten Hörer der Schnitzelbeat-Serie ahnen es allerdings bereits: da war noch etwas Anderes, etwas Wildes, Ungutes, ein dröhnender Faustschlag in die hornbebrillten Gesichter der Spießbürger. Doch wer hätte gedacht, dass die gelungenste Annäherung an den Proto-Punk der Blue Cheer oder MC5 ausgerechnet auf dem Volksmusiklabel Alpenton erscheint? (Albatross, "I am dead"). Da fährt schon ein Aufschrei des Entsetzens aus der Lederhose. Und ein Lächeln puren Glücks in die Gesichter aufgeklärter Fans obskurer Rockmusik. Auch The Seals erweisen sich 1969 als würdige Kämpfer im Krieg der Generationen: "You know nothing about the new generation / because you live in the U-Bahn-Station" stellen die Psychedelic-Punks aus Wien interessanterweise in ihrer Nummer "Stop this War" fest. Und auch sonst ist der Krieg ein geläufiges Thema: der 2. Weltkrieg (The Cop Stigh, "War History"); der Vietnamkrieg (Maybe Hair, "War"); der Krieg der Geschlechter (Young Society, "It's War"). Doch was wäre die Zeit der Hippies und Kommunarden ohne freie Liebe, Blumenarrangements und von allerlei Substanzen unterstützte Ausnahmezustände? "Nicht auf die Blumen in dem Haar, auf euer Herz kommt es an / denn Liebe nur allein alles ändern kann" singt die Casting-Boyband The Wallflowers, aufs trefflichste begleitet von einem Kinderchor, der leider nicht immer ganz textsicher ist. Die Aussage an sich würden aber sicher auch The V-Rangers unterschreiben ("Make Love"). Oder Hannes, Erich, Peter und Arno von der Salzburger Beatband Les Marquis, die einen Westcoast-Liebestraum an den Stränden des Salzkammerguts lebendig werden lassen ("Sand on the Shore"). Zur Halbzeit von Schnitzelbeat Vol. 3 wird ein unvergesslicher Höhepunkt gereicht. 1973 veröffentlicht Rocky F. Holicke die ultimative psychedelische Hymne aus heimischer Produktion: "Ready for Take Off" ist ein unbeschreibliches Monument eines Songs, eine wahrhaft überirdische Erfahrung musikalischer Transzendenz. Wenn es schon über die Wolken geht, dann bitte so, Herr Reinhard Mey. Und natürlich auf Holickes eigenem Label, Aero-Sound. Wo sonst? Während Hide & Seek auf den Spuren von Cream wandeln und ebenfalls von jeder Flugangst befreit durch den Orbit segeln ("I can fly"), blasen aus den Triebwerken von Karl Ratzers Gitarre längst sengend heiße "White Flames". Der legendäre Musiker und Frontmann der Charles Ryders Corporation ist nicht nur einer der besten Jazzgitarristen die Österreich je hatte - er nimmt es auch mit James Marshall Hendrix auf, wenn alle Effektpedale bis zum Bühnenboden durchgedrückt sind. Etwa zur selben Zeit findet sich eine oberösterreichische Ministrantenband - heimlich, nächtens - am Wochenende im Musikzimmer einer Mühlviertler Volksschule ein. Und nimmt dort eine brandgefährliche Granate hochexplosiven, psychedelischen Garagenpunks auf. Mit mehr Fuzz, Wah-Wah, Echo und Farfisa-Orgel als selbst der Leibhaftige persönlich erlaubt hat (The Hush, "Giny"). Und dies ist nicht die einzige weithin unbekannte Super-Rarität, die der Archivar, Subkulturforscher und Rare-Track-DJ Al Bird Sputnik und sein Team von den Trash Rock Archives zusammengetragen haben: die verschollene erste Single von Novaks Kapelle erscheint hier erstmals in einer komplett restaurierten Version, ohne Nadelhüpfen und mit relativ wenigen lästigen Nebengeräuschen ("Garbage Man"). Von den lediglich 10 angefertigten Exemplaren der einzigen Platte der Austrian Brothers ("Brother") konnte die einzige Kopie ohne Pressfehler aufgetrieben werden. Und um endlich der 7" von The Cop Stigh habhaft zu werden, musste sogar jemand sein letztes Hemd verkaufen und die Hose bis zu den Knöcheln runterlassen. Aber "All right", um es mit den Worten der steirischen Acid-Rocker Generation 2000 zu sagen: es hat sich ausgezahlt. Schnitzelbeat Vol. 3 fügt der vergessenen Frühgeschichte der österreichischen Rockmusik wieder zahlreiche faszinierende Kapitel hinzu. Begeben Sie sich mit Al Bird Sputnik und den Labels Konkord und Digatone auf eine weitere Reise in die Tiefen wohlsortierter Plattenkisten und pilgern Sie vor einem Himmel voller Schwedenbomben und Mannerschnitten über Gebirge verzerrter Gitarren in die entlegensten Regionen der österreichischen Popkultur. NOVAK

After half a century of constant development, inspiration and hothouse flowerings, certain genres have found their perfect expression - soul-funk is one of them. Dojo Cuts are one perfect expression of this perfect expression. Lean, mean and heavy (in the true sense) there is not a bass-note or hihat-beat out of place - everything is slave to the groove, and what grooves they are! Working from, and building upon, the original late 60s/early 70s Stax/Atlantic template, Dojo Cuts are the undisputed champions of the soul sound. Dojo Cuts go route 1 to your soul. With this Best of album, Pieces, Dojo Cuts has hugged our hearts and made us thank the universe for James Brown, Otis Redding and all the soul saints in heaven for this music. Take a listen, have a dance, heal your hurt.

After half a century of constant development, inspiration and hothouse flowerings, certain genres have found their perfect expression - soul-funk is one of them. Dojo Cuts are one perfect expression of this perfect expression. Lean, mean and heavy (in the true sense) there is not a bass-note or hihat-beat out of place - everything is slave to the groove, and what grooves they are! Working from, and building upon, the original late 60s/early 70s Stax/Atlantic template, Dojo Cuts are the undisputed champions of the soul sound. Dojo Cuts go route 1 to your soul. With this Best of album, Pieces, Dojo Cuts has hugged our hearts and made us thank the universe for James Brown, Otis Redding and all the soul saints in heaven for this music. Take a listen, have a dance, heal your hurt.

Die Rough Trade Shops präsentieren die neueste Ausgabe ihrer jährlichen Counter Culture-Reihe. Ihr jährlicher Almanach der wildesten, schrägsten und wunderbarsten Hits, zu denen wir bis 2023 jammen werden. Wenn es nach diesem Jahrgang von Counter Culturisten geht, dann wird es ein verdammt gutes Jahr werden. Kaufen Sie eine für sich selbst, kaufen Sie eine für Ihre Oma, kaufen Sie eine für Ihren Milchmann, kaufen Sie eine für seinen Hamster, hier ist für jeden etwas dabei.

You can't claim to know anything about Danish jazz unless you're familiar with the great and beloved tenor saxophonist Jakob Dinesen - aka Dino.
Dinesen's reputation as a versatile and virtuosic saxophonist has brought him all over the world and has cemented him as one of Denmark's most
sought-after musicians, performing with jazz, rock, pop and world music elite for the past 30 years. Now, at the age of 54, he is a fully-formed,
dynamic tenor titan with an instantly recognisable voice. His sound on tenor has a tenderness that's totally his own, and his phrases glide and soar
with a seemingly effortless technical command of the instrument.
In early December 2021, Dino travelled to the United States to record with one of his heroes - legendary American drummeer Jeff 'Tain' Watts - who
at 62 years old is considered by many to be the most prominent and influential drummer of his generation. In addition to Dino and Tain, this
resultant album also features two young virtuosos from Denmark - guitarist Jacob Artved and bassist Felix Moseholm - both still in their twenties but
making waves with their incredible talent, drive and taste.
The result is a recording that takes listeners on a journey offering plenty of room for each of the four musicians to shine brighter than ever before.
Jakob Dinesen - tenor saxophone; Jeff 'Tain' Watts - drums; Jacob Artved - guitar; Felix Moseholm - bass.
A limited edition 180g vinyl release.

As the momentum continues to build for old-school blues rock trio GA-20, the band takes their expanding fanbase by storm with the release its first full-length live LP, Live In Loveland!. Featuring 11 rowdy, blistering performances (including five songs from 2022's Crackdown, three from their 2019 debut Lonely Soul and three previously unrecorded tracks), Live In Loveland! captures GA-20 feeding off the energy of the wall-to-wall crowd and delivering each song with raw emotion and body-shaking force. Live In Loveland! mixes band originals and vintage covers, from early electric blues and honky-tonk country to proto rock 'n' roll, all performed live with deep feeling and punk energy. The album was recorded direct-to-tape on a vintage Tascam 388 at Plaid Room Records in Loveland, Ohio, home of the famous Colemine record label. Produced by Stubbs and engineered by Colemine owner Terry Cole, the band blasts out of the gate playing Harold Burrages' I Cry For You, before tearing into Little Walter's obscure gem My Baby's Sweeter. The previously unrecorded original Hold It One More Time proves to be an instant classic, sitting seamlessly next to the vintage covers on the album. According to guitarist Matthew Stubbs (whose resume includes playing with blues legends Charlie Musselwhite and James Cotton, among others), "There is a special type of energy that is exchanged when we play in front of a live audience, and we definitely feed off of that and wanted to capture that. I love the power and energy of the best live blues albums. Historically, some of the most iconic blues and jazz records have been live ones. B.B. King's Live At The Regal changed my life. So did Hound Dog Taylor's Beware Of The Dog!, and Albert King's Live Wire/Blues Power. We really wanted to continue that tradition and do one of our own."

An elusive Soul/Funk masterpiece from mid-70s Lakeland, Florida. The Riley siblings; Carrie, Horace & James laid the foundation for the two songs they would bring to Auburndale's custom recording studio, Central Sound to be released on the Nashville/Florida label, 'Music City'. Jerome McNeil, William Freeman, Bruce Bolden & Sam Graham would complete the outfit and be collectively known as 'Carrie Riley & The Soul Fascinations'

It's been 15 years since Now Again & Jazzman showcased the Deep Funk rarity 'Super Cool' on their Florida Funk compilation, however it's James Riley's group harmony B-side, 'Living In A Lonesome House With You' that has remained at large, unknown, collectively showcasing the talent encapsulated by The Fascinations.

'During the early 70’s The Riley family members who formed the Fascinations (originally the Soul Fascinations), James, Horace and Carrie along with a few friends, were destined to develop and perform musically as music flowed through our veins. Our father was a musician who played piano and sang the blues. As children we gathered around an old upright piano after dinner to hear our father play and sang. By the time I was 14 and my brothers, James and Horace were 16 and 17, we had all learned to plan an instrument. My focus was on vocals with many role models to learn from in the music industry such as; Dianna Ross, Chaka Khan, Gladys Knight and Mable Staple. My brothers loved the Commodores, Kool and the Gang, Rick James and Earth Wind and Fire. The Isleys’s were a favorite of ours also. James was the driver of our success in recording as he made sure we practiced for hours on end. Sometimes we would practice popular songs until 2 in the morning. James began to write songs and develop melodies that he would share with Horace and I. We would make suggestions for revisions such as arrangements and melodies. Before long we traveled to Miami where we recorded, Super Cool which was our title song, 'Living in A Lonesome House' and a few other tracks. 'Super Cool' is a song that is personal to me. It is a song about relationships and trust, while the Lonesome house song was about love affairs and breakups. So much great music came out of the 70’s. I am grateful that our music contributed to the industry during a time when great music was about love and relationships.

Lovingly
Carrie'

'Originally released in 1971, Detroit's 'El Count Executives' epitomise the mythical, spoken sentiment of love through their only single, 'Pot Of Gold' & 'Nothing Comes To a Sleeper (But A Dream)', written & released by Ohio native, Kennedy Hollman, on his record label
'Gemini", aptly named after his astrological sign.

Hollman, who had his debut single 'l've Got Style' in 1967, recorded as 'The Mints', later known as 'The Imperial Wonders', became a leading figure amongst the Cleveland circuit.

His initial release by 'El Count Executives', recorded in Detroit at Gary Rubin's 'Pioneer Recording Studio', was shortly followed by 'The Soul In-Pressions', released on 'Aquarius',
another astrologically tipped label ran alongside Henry Watkins, Jr. & James Lately. Towards the late 70s, Holman was part of Detroit's Soul/Disco act, 'Solid Solution' Now available as a limited 7" single for the first time in over 50 years, kindly licensed from
the Holman estate’

After the success of the Pan Machine album that saw the Ebony Steel Band cover Kraftwerk, OM Swagger’s Ian Shirley was desperate to work again with the talented Delphina James who arranged the tracks on that fantastic LP.

Shirley had the idea of interpreting the works of famed contemporary composer and pianist Ludovicio Einaudi through the prism of the steel pan.

Delphina James wrote out arrangements for classic tracks like I Giorni, Passaggio and Samba as well as lesser-known works like Moto and Respiro. She then formed a trio comprising of Tara Baptise (three pan cello), Nadine McCleary (bass) with herself on Tenor and set to work rehearsing the material. Once the trio mastered the material, James took it upon herself to write and arrange the track Siempre Conmigo as a tribute to the Italian piano master.

Produced by Ian Shirley, Play Ludo was recorded at the internationally famous The Pool studio in Elephant and Castle.

Anyone who enjoyed Pan Machine will love this. Fans of Ludovicio Einaudi around the world will rejoice in hearing the master’s work interpreted in a totally different musical setting. Respiro, for example, takes Einaudi into ambient electronic territory even though the instrumentation used is acoustic.

Like Kraftwerk, Einaudi’s music sounds like it was written specifically for the steel pan.

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

180g virgin vinyl - audiophile pressing, celebrating 95 years of Burt Bacharach.

Considered one of the greatest composers in popular music, this superb LP contains 20 of his most essential and enduring songs, performed here by such celebrated stars as Dionne Warwick, Jerry Butler, The Shirelles, Chuck Jackson, The Drifters, Jack Jones, Timi Yuro, Del Shannon, Etta James, Gene Pitney, and others.

'The songs of Burt Bacharach occupy the same brain space as nursery rhymes and Beatles tracks: you don't remember not knowing them.' - The Guardian

'These songs played a big part in shaping my tastes in music.' - Elvis Costello

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.