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Critically allaimed debut full-length available for the first time on vinyl. First pressing of 3,000 on “pear” vinyl. Originally released in 2006 on Absolutely Kosher Records, Shut Up I Am Dreaming is the first full-band effort from Montreal’s Sunset Rubdown, a project previously reserved for the solo experiments of Wolf Parade’s Spencer Krug. Alongside Michael Doerksen (guitar), Jordan Robson-Cramer (drums, keys, guitar), and Camilla Wynne-Ingr (keys, percussion, vocals), Krug and his new band recorded the songs in just five days with the help of engineers Jace Lasek and Dave Smith at Breakglass Studios. Though met with praise by fans and critics alike, placing 15th on Pitchfork’s Top 50 Albums of 2006, Shut Up I Am Dreaming was never made available on LP. Now, fifteen years later, Krug is having the album pressed to vinyl via his own tiny record label, Pronounced Kroog. Remastered for vinyl at Greymarket Mastering by Harris Newman (the same engineer who mastered the original), and with original cover art by Matt Moroz reformatted for LP jacket, this first-ever pressing of a now cult classic will be available this winter. After a decade and a half of earnest inquiries, Sunset Rubdown fans are finally able to add Shut Up I Am Dreaming to their record collections. About time!

Originally released on Argo Record in 1963 this was Etta James's fourth studio album. Produced by Chicago master Leonard Chess, the man who first saw the potential for James to go into a more pop-oriented direction, this essential album release consisted of her ten top record hits in the past three years. An incredible array of songs in various moods such as the "Something got a hold on me", "All I could do was cry" and "At Last", all hits that would literally make the R&B sound of the 60's

Freestyle Records in association with Rare Sounds USA present a stellar repress of Speedometer's 2003 debut LP This Is Speedometer.

Originally released on Clive Johnson's Blow It Hard (started after the demise of the well-loved weekly Soho club night of the same name, and home to the New Mastersounds first releases alongside choice cuts from JTQ and others) This Is Speedometer showcased the sounds of one of the UK's premier acts in the deep funk scene of the early noughties for the first time on the long player format.

Starting out back in 1999, Speedometer started out as an instrumental quartet gigging in small clubs in the Southeast of England, paying homage to classic funk tunes by artists such as The Meters and The JB's. The band soon expanded and began writing original material, adding the highly regarded horn section and vocalists in 2001, which enabled them to deliver the powerhouse deep funk sound on display here. In addition to their own albums, singles and live shows, Speedometer have backed many US funk & soul legends including Sir Joe Quarterman, Eddie Bo, Marva Whitney, Sharon Jones & Lee Fields and more.

Now coming up on 20 years since it's original release, you can now marvel at Speedometer's classic, original soul-funk sound thanks to a sparkling new cut. Dig in!




d 04: Just Keep On (Doin the Do) feat. The Speedettes

This November, American cult hero Dev/Null debuts on Trickfinger & Aura T-09's Evar Records with MICROJUNGLIZM, an 8-track album that explores the power and beauty of darkcore, jungle tekno and breakbeat rave. Chopped drums, hairpin turns and alluringly emotional pads open up a time portal between the past and the future, decorated with haunting samples and musical Easter eggs that show off Boston-based Dev/Null's deep history as a rave historian and scholar.

MICROJUNGLIZM's fantasy suite was written over the last year, arranged and sequenced entirely without a computer. Dev/Null fell in love with Teenage Engineering's PO-33 Pocket Operator – a portable, pocket-sized sequencer that he started using during his DJ sets to create special versions on the fly. The limitations of making entire tracks inside the PO-33 immediately suggested the sampling techniques and stylistic hallmarks of early jungle, already one of Pete's longtime obsessions.

"The PO-33 has some of the same low-fi sonic charm as retro gear used back in the day," Pete explains. "8-bit samples, 11khz mono sound, kind of like an Amiga computer. It's been really fun and exciting to have my own tracks to throw into sets – even if they're raw, unfinished 3-minute things which get played once and never again. A few of these tunes were done for my sets at parties thrown by Aura T-09 in L.A., so I'm happy they're coming out on her label."

When Berus debuted in January 2021 on Kommerz Records with his “Voyage EP”, he had no idea how precise the title would be for the coming months. A little over a year before the release of “Voyage” the Berlin based multi-instrumentalist and producer had taken his focus away from his, more than a decade lasting, house and techno career towards a new sound, inspired from neo soul and hip-hop. Whilst his electronic projects found home on Kerri Chandler's Madhouse Recordings and DVS1’s infamous Mistress and gained his moniker Frag Maddin worldwide attention, it was part of his progress to focus on himself and Berus, his real name. He took this step not knowing it would lead him into a dark journey of self revelation, identity finding and for the foremost new hope: blue hope.
Berus was born to a Zaza family in Kurdistan, which eventually migrated to Germany escaping prosecution and discrimination of the nationalist regime in Turkey. The family settled in Hamburg and Berus grew up to be a New Release Information
musician. He played the drums, formed teen punk bands and started producing at an early age experimenting and shaping his future as an artist.
Since the beginning of his career Berus releases can be seen like a diary, always expressing his very personal state at the time. For the work on “Blue Hope” two main topics fall into the production of the album: love relationships and seeking identity.
There is a blue melancholy and reflection leading through the album. On “Talk to Me (Karþýlýklý)” Berus opens up about his feelings of true love and the need to set free when they are not answered. Whilst the incredible Mulay who is featured on “Holy Waters” answers with her female perspective. And there is hope. The hope (“Dream On”) and fears (“Being Alive” feat. Sedric Perry) of a young migrant generation. “Blue Hope'' is a coming of age story that’s relatable and yet unique, honest but vulnerable and for the foremost: 100% Berus.
The album is a neatly curated mixtape and delivers a wide range of styles like the jiggy sounding Mike Nasa on “On Me” all the way to “Wholesome” on which Barne delivers a John Mayer-esque performance.
On “Blue Hope” Berus gathered a mixture of old friends and new talent around him to produce the record. The outcome is an LP referencing different influences without the use of any samples.

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

Salute to the Sun: Live at Halleì St Peter's documents a very special concert recorded at the iconic Manchester venue during lockdown.

Released in November 2020, Matthew's Halsall's Salute to the Sun was the trumpeter's first album since 2015's Into Forever, and marked the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians. The album drew it's energy from the band's weekly sessions and was inspired by Halsall's love of nature. Lush and spiritual it received universal praise, but Halsall and his band were frustrated that they were unable to share their beautiful new sound live with an audience.



On November 25th 2020, Halsall took his band into the iconic Manchester venue, Hallé St Peter's, for a concert recording in aid of the charity Mind, that was streamed on January 21st 2021 to a global audience in the thousands. The concert was also recorded for posterity.



"When we recorded Salute to the Sun, I wanted to create something playful but also quite earthy and organic that connected to the sounds in nature. It seemed to strike a chord with people and I was blown away by the response to the album. Our concert film, recorded at the height of last winter's lockdown was a special moment for us all and I feel that the concert recording captured something beautiful that we wanted to share".



Salute to the Sun: Live at Halleì St Peter's features Matthew Halsall– trumpet, Matt Cliffe- flute & saxophone, Maddie Herbert– harp, Gavin Barras– bass, Liviu Gheorghe– piano, Alan Taylor– drums and Jack McCarthy- percussion



The recording has been mixed by Matthew Halsall and George Atkins at 80 Hertz and is mastered by Peter Beckmann at Technology Works. The vinyl was cut at Calyx in Berlin and the album is pressed at Optimal in Germany. It is presented in the form of a limited edition 2LP set with artwork by legendary designer Ian Anderson of The Designers Republic.



Spread over three sides of the vinyl LP for maximum fidelity the fourth side of the LP (side D) features an etching of Daniel Halsall's now iconic artwork for the album Salute to the Sun and copies are strictly limited with just 3000 available in total. The album will also be available for download and on streaming platforms.

Hot on the heels of their landmark remix of ‘Lost My Love’ by Kenny Cox, DJ Amir and Re.decay return to BBE Music with a rework of Maulawi’s ‘Street Rap’, plus a new version of Fito Foster’s ‘Salsa’ by DJ Dez (aka Andrés) featuring Amp Fiddler. Originally issued as the opening track on Maulawi’s self-titled 1974 album by Detroit’s Strata Records, ‘Street Rap’ is a slept-on jazz/funk classic. As part of his role as curator and archivist of the Strata catalogue, DJ Amir discovered the original stems for the track and was happy to discover they had survived the years well. “I thought we could really do something different with this song” say Amir. “Like making it more of a mid-tempo ‘four to the floor’ groover. Also, I wanted us to play with the original vocals a bit for the updated version. This is by far our favourite remix!” Previously serving as DJ for Slum Village and releasing on Moodymann’s Mahogani Music simply as Andrés, DJ Dez Andrez is part of the fabric of Detroit’s unique and eclectic music scene. But few people know that Dez’s father is Cuban music hero Humberto “Nengue” Hernandez, a highly respected percussionist and vocalist who starred in the 1988 motion picture ‘Salsa’. “So I reached out to Dez because I knew his father sang and played on the Fito Foster song “Salsa’” says Amir. “I have had the stems of the song since the beginning of my license deal with Strata. I thought it would be a great homage to have Dez remix his father’s music. Plus, Dez was definitely excited to do so!” For his remix, Dez called upon Detroit legend Amp Fiddler to play additional keys and piano on the remix, while Dez also added additional percussion to compliment his father’s, like a time-travelling jam session going back almost 50 years. Staying true to his Cuban roots, Dez’s remix brings a contemporary twist to this timeless track.

Baltimore, Maryland’s Angel Du$t have announced details of their new album ‘YAK: A Collection of Truck Songs’, which will be released on CD on 10th December on Roadrunner Records and the band have also shared the new song ‘Big Bite’, which is joined by a music video directed by Ian Shelton.

Vocalist / guitarist Justice Tripp commented, “People get really married to the idea of making a record that sounds like the same band. If one song to the next doesn’t sound like it’s coming from the same band, I’m ok with that.”

Put simply, Angel Du$t are the guys who do whatever you don't expect.

Produced by Rob Schnapf (Kurt Vile, Elliott Smith), ‘YAK: A Collection of Truck Songs’ follows Angel Du$t’s 2019’s album ‘Pretty Buff’, and sees the group channelling an anything-goes philosophy into their tightest, most forward-thinking material yet. Recorded over a two-month period in Los Angeles last year, the album is a rotating smorgasbord of percussion, guitar tones, effects, genres, and influences, fashioned in the spirit of a playlist as opposed to a capital-R ‘Record.’ The album’s 12 tracks span jangle-rock gems (‘Big Bite’), piano-spiked power pop (‘No Fun’), and a breezy duet with Rancid’s Tim Armstrong (‘Dancing On The Radio’).

‘YAK: A Collection of Truck Songs’ also features ‘Love Is The Greatest’, ‘All The Way Dumb’, ‘Turn Off The Guitar’ and ‘Never Ending Game’, all of which appeared on Angel Du$t’s 2021 EP ‘Bigger House’,

Breezy but determined as they imbue their laid-back acoustics with sharpness, Angel Du$t continue to prove they are band averse to boundaries. The band’s Roadrunner Records debut ‘Pretty Buff’ was produced by Will Yip and earned the band critical acclaim. Widespread international attention included UK praise from Kerrang! (“13 super-accessible, honest and artfully crafted songs… there’s lots to love about them”), NME (“the fun-first hardcore group bringing ‘90s pop-rock to the pit”) and The Line of Best Fit (“a cacophony of good times and soul”).

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

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

Genius, icon, trailblazer - he revolutionised music as head of the Beach Boys. Now, legend Brian Wilsonr etraces his steps and reimagines the most iconic songs from his back catalogue into their purest form, him alone at the piano. Featuring renditions of classic hits 'God Only Knows', 'Wouldn't It Be Nice', 'California Girls', 'Good Vibrations' and many more on solo piano. "I can't express how much the piano has played such an important part in my life. It has bought me comfort, joy and security." - Brian Wilson.

 In 2011, Toronto’s Fucked Up delivered an album
that chafed the edges of punk rock’s conceptual
boundaries - a set of songs that splayed freely into
unexpected instrumentation, psychedelic drift, and
situationist philosophy. Its ambition was limitless
and its run time opulent. Which is to say, they
made a concept album.
 Matador Records celebrate the 10th Anniversary of
Fucked Up’s titanic 78-minute early ‘10s
masterpiece, ‘David Comes to Life’, with a special
edition double LP reissue on lightbulb-yellow vinyl.
 ‘David Comes to Life’ is a story of lost love, global
meltdown, depression, bombs, guilt and madness.
Or is it? A modern-day morality tale set amid the
dour backdrop of a British industrial town in the
late ’70s, it’s a four-part play that follows the dark
moods and inner psyche of the titular hero. At the
same time, the reliability of the narrator gets called
into question. The tables are turned, responsibility
shifts, and the story goes meta. Of course, you
could always ignore the backstory and just listen to
a fiercely imaginative double album of blistering,
melodic rock ‘n’ roll shot through with all manner of
psychic weirdness.

Late 1980’s to early 90’s guitar pop/rock n roll band from Dunedin, New Zealand. Stephen featured David Kilgour, Alf Danielson, Geoff Hoani, and Stephen Kilroy.

Formed by David Kilgour after The Clean first split. They released an EP on Flying Nun records in 1988 as a three piece, later added another guitarist and recorded for a record that didn’t happen. Remastered, rescued and compiled for this release. New art and liner notes, insert with prev. unseen photos and fliers. Tracks from the Dumb EP, Radar of Small Dogs, as well as studio tracks from sessions towards the never-completed LP.

Interview with David Kilgour about the band coming up in the next Maggot Brain issue.

"Stephen Kilroy recently reminded me that my idea for the band was to have no aspirations, apart from making new music, and that it was a casual experiment. I’d forgotten that. I remember having a long break after the Clean first split. I wanted to keep making music in a low-key way, and with other musicians I could write and share the spotlight with. I’ve always wanted to be in someone else’s band." - David Kilgour, from the Maggot Brain interview.

Die zweite Veröffentlichung in der MMJ Live-Serie von My Morning Jacket. Aufgenommen live im Auditorium Theatre in Chicago am 11. November 2021 und mit einer Setlist von Karriere-Highlights aus den letzten Jahren: 'Love Love Love', 'Complex' und 'Never In The Real World' vom aktuellen selbstbetitelten Album, sowie die Klassiker 'Dondante', 'Mahgeetah' und 'Phone Went West'. Drei LPs, gepresst auf orangefarbenem Vinyl in limitierter Auflage und verpackt in einem dreifachen Gatefold-Jacket.

WRWTFWW Records is super happy to announce the official reissue of Roland Bocquet’s highly sought after solo album, Paradia. Sourced from the original masters, this very comforting and warm gem is available on limited edition vinyl housed in heavy 350gsm sleeve with holographic sticker, as well as on digipack CD.

Originally released in 1977 on the legendary Cobra label, Paradia is the first solo album by Roland Bocquet, keyboard player for cult French band Catharsis. The (mostly) instrumental album is a wonderful oddball adventure blending cosy ambient, euro-folk, synth escapades, Latin fusion with a French touch, gentle bossa, a tiny bit of minimalist chanson, and a heavy dose of je-ne sais-quoi. The result is soothing, mysterious in the sweetest ways, and fully atmospheric: a must have for fans of Pascal Comelade, Mort Garson, Dominique Guiot, ZNR, Vladimir Cosma, movie soundtracks, library music, and unclassifiable gems.

It’s hard to describle but lovely to experience! Paradia, Paradia, Paradiaaaaaaaa…

Mr Bongo is delighted to present a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The first fruits of our partnership is a collector's edition 7”. We have selected two tracks of Turkish inspired funk goodness taken from their already cult-classic 2019 album, 'Doğu Çiçekleri (Eastern Flowers )'. Both instrumentals, 'Tulip' and 'Magnolia' could easily have come from a lost soundtrack to a psychedelic movie. With their beautiful, yet raw aesthetic, they will enthrall funk, B-Boy / Girls, and psychedelia fans alike.

Cut at the Timmion Records Cutting Lab in Finland.

For a duo whose youthful energy rejuvenated the world of house music at the start of the 2010s, it seems incredible that Disclosure are now into their second decade of musical life. The incredible vigour of those early records, the spark of invention and ever-onward musical thrust, remains with the Disclosure brothers, Howard and Guy Lawrence, to this day. The emphasis throughout DJ-Kicks is on motion. After a brief ambient introduction from Pépe's Life Signs, Disclosure keep the energy high, in a mix that showcases the wonderful malleability of a house beat in the right hands. From sub bass to disco samples, African funk to 303 tweak, all is welcome in Disclosure's house, with the mix allowing individual songs space to breath even as the pace remains harefooted.

The Mighty Soulmates is a towering early 90s project from the legitimate super group of André Cymone (bass player with Prince), St. Paul Peterson (guitarist with The Family and Prince), Mic Murphy (of Sass and The System fame) and Gardner Cole (writer, producer and musician probably best known for his work with Madonna). The sound is a majestic blend of sophisticated funk, emotional R&B, New Jack Swing flava and slick deep soul.

These should-be legendary sessions have been almost a secret since they were recorded back in 1993. The first Be With knew about the project was whilst working with Mic on some Sass re-issues and he told us he had something else we might be interested in hearing.

Mic explained, “In the summer of 1993, Gardner Cole asked if I’d be interested in coming out to work with him, André, and St. Paul. So we all headed out to what can best be described as a fantasy music summer camp at Gardner’s house in Woodland Hills, California. We had all worked together in the past in some form or another so everyone was energized and enthused and excited to see what we could create together. St Paul and Andre had already begun some songwriting at Gardner’s well equipped home garage studio. The songs and ideas progressed quickly and some additional recording was completed at André Cymone’s studio in downtown LA. We ended up working on the project for about 6 months, off and on, until Gardner's house fell victim to the Northridge Earthquake in January 1994.”

There were some vague ideas at the time about turning the sessions into a finished record, but everyone went back to their day jobs and as St. Paul puts it: “for nearly 30 years it just sat there, marinating like a fine funk masterpiece. Everything has its right time and now just be the time”.

From all the tracks Mic sent over, we’ve cherry picked the absolute cream for a tight four track EP. In an alternate history all four for these would’ve been radio smashes. No doubt. But these songs never even reached a plugger. A mixture of beat ballads and uptempo non-hits, coming on like Al B Sure! or Babyface take on Shalamar or, dare we say it, The Purple One - maybe not so surprising given who’s playing!

The feel-good dancefloor dynamite of “I Wanna Be The One” is the explosive opening track. A piano-driven, groove-laden blast of yearning deep-pop, with perfectly delivered soulful vocals and an unmistakable “early 90s” sound. Indeed, fans of Eddie Chacon’s old group will dig this for days. “Back In The Day” has a timeless swing and swagger, the lyrics reminiscing about the halcyon streetlife of the Soulmates’ youth, about Curtis, Superfly and innocent days gone by, about hustling with friends. Yet more spine-tingling vocals over yet another perfectly produced musical backdrop. Stunning.

Opening side B, “Blue Tuesday” is the thrilling pinnacle of the EP, at least for us. It’s absolute soulful-pop perfection, and the one we’ve been asked about most after teasing this collection on our NTS show. A soaring beat ballad full of chiming guitars, gorgeous harmonising, falsetto “doo-doo-doo-doo do-do-do-do” backing vocals and a real steppers’ groove. Glide to this with your loved one at the next roller rink party.

Dramatic, purple-hued closer “Private Time” seems to predict the Timbaland-dominated sound of the mid-to-late 90s, all synthetic strings and squelchy, acidic-drum-machine soul. There’s even room for funky piano breaks, vocoder bridges and more cowbell than you can shake a cowbell at. You could just as easily hear Aaliyah vibing over this as much as Mic.

This EP represents the sound of four incredibly soulful, talented, and influential (soul)mates jamming together over one long hot summer and weaving pure sonic magic. André Cymone loved the “kinda pop, experimental exploration of sound and music. I think these songs make a statement. Not just because of the collection of talented musicians involved but the idea of musically branching out and experimenting; which is what I loved about the project and for people to hear and hopefully appreciate the artistic adventure this music takes, I think it’s a much needed breath of fresh air.” As Mic recalls, “it had the feeling of recovery in a circle with my dudes making music sitting around catching up on life - it felt like living a second childhood. We just wrote what we felt. I don’t remember ‘aiming’ at anything but a great song, melding all our different influences from throughout our lives. We had no restraints. For me personally, it was a time to make music and regroup. I call it the ‘Soulmate Experience’ because in many ways we are kindred souls as a band. We did have an amazing time making the record and so much fun together. Probably my best summer ever”.

The Mighty Soulmates EP has been mastered for vinyl by Simon Francis, cut by Pete Norman at Finyl Tweek and pressed at Record Industry. That early 90s gloss sounds spectacular, if we do say so ourselves.

And such a special record needed some truly almighty artwork, so thanks go to DJ Ruby Savage for directing us to London-based illustrator and designer River Cousin. This music needed something elegant and indulgent yet soulful and striking and something as simultaneously tongue-in-check and deadly-serious as the group’s name. The end result is as modern yet timeless as the music itself.

And these are just our four picks. There’s plenty more where this came from and Mic tells us he’s even picked the album title: “Earthquake Summer”.

Gene Jackson's rich soulful character along with his emotional range make him one of the finest local vocalists. His debut album “1963" came out in 2017 to critical acclaim, including a Blues Blast nomination (new artist debut). His new album “The Jungle”, out of which this 7” release is taken, has plenty of songs with the subjects you’d expect a soul singer to tackle: falling in love, the heartbreak from love and the evergreen “right now you can’t trust anybody,” as he puts it. A St. Louis native, Gene grew up singing. His mother, Mary Coleman, sang with Ike and Tina Turner, the Shirelles and others. She encouraged her son’s gift, and he gained experience singing in the Mt. Gideon Missionary Baptist Church.

The Waterboys 1990 album ‘Room to Roam’ was the bands fifth album. It continued the Folk-Rock sound of 1988's Fisherman's Blues and was recorded at Spiddal House in Galway, where the last recording sessions from the preceding album, Fisherman's Blues, had been recorded. Room to Roam would be the last of The Waterboys' Folk-rock sound until the release of Universal Hall in 2003. Fiddler Steve Wickham, who had been a large inspiration for the change to that sound for Fisherman's Blues, left the band shortly before Room to Roam was released.



This new vinyl has been produced to compliment The Magnificent Seven CD/DVD/Book box set. Mastered for Half-speed and cut by Miles Showell at Abbey Road and made into a double album running at 45rpm. The original artwork has been presented in a new 5mm wide spine sleeve, polyline inners and insert.

Originally released by Bethlehem Records in 1959, NINA SIMONE AND HER FRIENDS was a compilation album comprised of the few remaining, unreleased tracks from the Little Girl Blue recording session plus songs recorded by two other former Bethlehem artists, the powerhouse jazz vocalist Carmen McRae and the elegant song stylist Chris Connor.

As Daphne Brooks explains in the release’s brand new essay, “Bethlehem clustered their work—tracks that had previously appeared on the label’s Girlfriends compilation—together with the younger, upstart Simone’s and essentially offered up a collection of songs that span a range of genres—folk, jazz, pop song staples, and torch song laments, plus a couple of provocative original compositions by McRae and Simone. Each track is a reminder

of the clear-eyed independence, verve, and confidence of three artists whose music, taken together, brims with the majesty and the assured talents of the late 1950s women artists who led with conviction and invention as musicians and song interpreters.”
Featuring a brand new stereo mix by four-time Grammy winner Michael Graves. Includes new essay by author of Liner Notes For The Revolution, Daphne A. Brooks.

Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album "Call My Name", written and produced by Daniel Collás.After being out of print for a while, the LP has now been revamped featuring new artwork and liner notes written by Andrew Mason and Daniel Collás, plus photos from the sessions.

“This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to.

He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. The funny thing is, 'Chick-A-Boom', a live favorite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. I thought this might be a little weird for him, since he is used to writing and producing most of his own records, but he was open to it.

The reactions to this album were gratifying. Diehard fans accepted it as a welcome addition to the canon and regularly compared it to some of my favorite records of Bataan's. At one point a New York radio station's listener poll listed two songs off of the album in the top ten of all-time best-loved Joe Bataan songs, and Ry Cooder enthusiastically mentioned "Call My Name" in a Wall Street Journal interview.” Daniel Collás, producer of "Call My Name".

This collection of 12 luk thung* songs from the 1960s-70s, all produced by Surin Phaksiri, is a superb showcase of cross-genre/multi-national fertilization, with Latin, jazz, western pop, Indian and Japanese music seamlessly melding with the musical culture of Isan (northeast Thailand), which is strongly rooted in Laotian culture; indeed, the Isan language, as featured in these songs, is a form of Laotian. Esteemed producer Surin Phaksiri, an Isan icon, always strove to drive Thai music forward, with innovative techniques and open ears, introducing international elements as well as Lao influences, including the use of the khaen. Many of the singers here, all famed and respected, have Lao roots, and it is predominantly through music that the Isan Lao-Thai culture has entered the Thai national consciousness. These lovely and joyous songs are, for the most part, previously unavailable outside of Thailand; more than half are first-time reissues. The wide range of songs here includes covers of Japanese folk and pop songs, a paean to marijuana, proto-Thai funk, a ramwong-style** dance tune, a cover of a Bollywood classic, some straight-ahead luk thung, a unique Indian-style luk thung, and a gorgeous answer song to a movie hit. An array of gems, available on vinyl and CD, with English translations of the lyrics and Soi48’s liner notes. Cover art by Shinsuke Takagi (Soi48)

* Lukthung: A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form.

** Ramwong: A unique form of Thai dance music, fostered as a means of promoting national pride and unity. Similar to Japanese Bon Odori, participants form a circle and dance together. The term can refer to the particular style of music, or the actual dance.

In 1981, Brenda Ray / Naffi Sandwich released the sweetly yearning “D’ Ya Hear Me!” The song is now considered a post-punk classic, and here we have a warm digi-reggae version sung by Kyoto composer/producer/vocalist NTsKI (“Natsuki”), with backing tracks performed, recorded and mixed by Osaka-based producer/guitarist 7FO ( “nana f o” ). Also on this release are a karaoke version, plus two remixes, the first a dancehall-flavoured version by Bim One Production, a Tokyo electro-reggae production duo. The second mix is from Nagoya-based electronic producer CVN, who provides a harder version. This revisioning of a much-loved classic is available on 10" and CD.

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

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ (from which this single is
taken), is born from the same ambition: make music by
any means necessary. The songs were recorded with
sneakers as mic stands and blankets draped over the
amps, all within the afternoon following a school day, up
until they ran the risk of noise complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK.
 7” features ‘Low Era’ on the A side and a never before
heard bonus track called ‘Smoke In Japan’ on the B side.

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

Inspired by such classic concept albums as Willie Nelson's Red-Headed Stranger, Sturgill Simpson's The Ballad of Dood & Juanita is the Grammy-winning singer/songwriter's third album in twelve months, and his most ambitious project to date. Written and recorded in less than a week, and featuring the same ace musicians who played on last year's Cuttin' Grass albums, the record tells a classic American story of a Civil War-era couple torn apart by violence and reunited by love—what Simpson calls "a simple tale of either redemption or revenge."

Like Pacific are releasing a brand new full length album around the time of their East Canadian tour dates.

Long Awaited Double Gatefold Release!

Omar Lyefook MBE is without doubt, one of the greatest soul music talents the United Kingdom has produced in the last 40 years. If anyone has doubts about that, then they might want to consider the list of legendary artists who happily line up to collaborate with him musically, or simply sing his praises - from Stevie Wonder, the late Leon Ware, Erykah Badu, Common, through to Carleen Anderson, D'Angelo, and Soul II Soul's Caron Wheeler, Angie Stone and U.K. artists Courtney Pine, Rodney P, Kele LeRoc, Natasha Watts and Estelle, all appreciate his truly original and unique voice, musicianship and songwriting talent.

When asked to reflect on his long, successful, critically acclaimed and deeply influential career that shows no signs of slowing up, Omar said "I feel blessed. I try to keep things moving and evolving, and when I finish an album, I always put my heart and soul into it. I'm looking at it from an outsider's point of view, because I never really see myself making the music. It's like I'm the vessel and somebody's controlling what I do, I just happen to be the one that gets the praise for it".

That modest statement just re-enforces the fact that Omar is simply a one off, a genuinely unique artist. That is a bold claim, but his sound is so immediately identifiable, that you will know you are hearing an Omar track within seconds - and that is the stamp of true originality.

This collection features many of his classic collaborations, from his evergreen worldwide anthem There's Nothing Like This, It's So, the dancefloor destroying banger inspired by the amalgam of sounds Omar heard at The Notting Hill Carnival.

LP+Buch

Limited Edition Deluxe Version comes with 50 page children's book inspired by the album. Written by Francine Prose and illustrated by Omar "El Oms" Juarez. The colored vinyl is red. Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.