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Hunt & Gather’s debut vinyl release comes by way of Pezzner’s cryptic moniker “The Native Language”. Written as a quasi-homeless man living off the rich in the San Juan Islands who writes music once per year to suffice his own delusions.

Walking the streets in these damp, anxious days that all run together lately, I was approached by a man who would blend right into the neighborhood, layered in flannel and sweatshirts for sleeping.

Rough, but for his shoes. (Never cheap out on anything that separates you from the ground.) “Pezzner,” he called out, from a safe distance. “What did the mangrove say to the marauding hordes.” My soul left my body for a moment and my voice responded on its own. “Petrichor.”

He caught my eye, nodded, left a padded envelope on the ground and vanished. The envelope had passed through many hands, slipped into the bed of a ferry-bound truck, passed from one fellow traveler to another, stashed under the counters of anarchist bookstores, left tucked between books at Little Free Libraries. The greenish stains suggested that at one point it had been swum across a lake. Another DAT, contents encoded here unabridged, and a letter from someone who called himself The Sentinel.

The Vessel lived out his days on Shaw Island, under a canopy of trees that gets smaller and smaller every season. His condition the same, any electricity lit his brain on fire, could only bring himself to compose one day a year, only at night, out of sight. Until he met The Angel, an eccentric with means, who built for him a device.

A Faraday Cage to block all electromagnetic emissions. Burlap walls, for atmosphere. A system of pulleys and levers, wood and rope, all running into a box that sat outside. An entirely mechanical control surface. No electrons in here. The Vessel lit fires, watched the shadows dance, closed his eyes and disappeared into the motion for hours at a time. The Sentinel came every morning to change the tapes. The Angel watched and pondered, his plans unknown.

The box sat sealed, bare except for another set of ideograms, scratched in day by day over time. Inside, the usual bedroom-producer shit. Outside, the ideograms told a story, passed from the Vessel to the Sentinel and drawn by the Angel, of a man who became another creature. Alert to the lowest frequencies, feeling music deep in the soil below their feet. Music that brings messages, from distant friends, warning of new creatures and the danger they brought. Skin alive to the world, so sensitive it can detect the landing of a single fly. A mind capable of keeping a map of the world inside. A mind that can look in a mirror and see a soul it knows well. A mind that can grieve.

After processing its contents, I filled the envelope with granola bars and walked it down to the market. The clerk gave me a knowing look as I placed it on the counter behind a stack of pork rinds from the previous century. As I walked out, a young man carrying a plastic bag and wearing impeccable shoes walked in.

Ethno-alternative lo-fi absurdism from the mind of London based multi-instrumentalist & Primordial Soup member, Samuel Huxley. Expect everything from Hindu ceremonial music to dark lounge, post-punk & avant-garde, to Kabuki theatre score & world electronica, any number of which can be found within a single track.

The Romance of Baba Loco is the union of wisdom & madness, eastern mysticism & western folly, absurdism to catch you with yer pantaloons down… Bang bang smash to perennial illumination. Cling clang for funk monkeys. The bejewelled vistas beyond, nihilism be gone… The donkey was not ill-tempered after many blows, on the ass, from the stick. He smiled like a gentleman, and kept on clip cloppin’ towards the promised land…

The Romance of Baba Loco is the latest iteration of a recording project by Samuel Huxley that originally made ambient soundscapes for psychotropics (Paradise Dose). In 2017 Samuel was curating infamous venue and scene of a multitude of glories & horrors, The Five Bells in New Cross, SE London. One of his first acts to play was Primordial Soup, at that time a 3 piece absurdist art rock band. They quickly became friends & began performing semi-improv shows as a 5 piece, and later went on to form Primordial Soup Collective who’s main focus was esoteric experimental theatre & film, and rare multidisciplinary exhibitions.

This changing focus of Soup away from sound provoked Samuel to channel his musical compulsions in to his solo project which had by then ventured far away from ambient soundscapes to shrieking Indian and Moroccan oboes over African & Indian tribal rhythms, with the desire to create the raw lo-fi atmospheres of street music. Gradually guitar styles of South East Asia & Latin America were introduced, leading to backing track solo performances & outrageous live improv freakouts with Craig Deporto (ex-Flamingods) & Luke Bell (Ex-Wild Birds of Britain).

Finally two days before the glorious pandemic lock down, Samuel signed to Faith & Industry, which birthed new moniker “The Romance of Baba Loco” and 3 months worth of ceaseless creation. From the Hindu Ceremonial music of the Shehnai & Nadaswaram to post-punk, absurdism & experimental art, The Romance of Baba Loco finally united two seemingly dissonant sides of his personality in a manner he had not previously achieved. The old material was cast off, and these peculiar fruits of imprisonment, can be found on his first release, “Cling Clang For Funk Monkeys”.

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someday - but for now check out). So with Bill back in action and the world slowly crawling out of a disillusioning haze, now seems like the perfect time for a first-time-ever reissue of this incredibly rare, happy-sad, gently delicate, Stone(d) classic of a downer song-cycle.

Influenced by a life split between Lima, London, and Twentynine Palms, Peru-born M. Caye Castagnetto’s Leap Second is an intriguingly personal and hard to classify debut album. The album is a thick collage of samples Caye recorded with different artists and musicians, including Beatrice Dillon and the late Aileen Bryant, that spans five years in the making. There is something in Leap Second that tracks the speed of bodies, how they approach and retreat. The ten tracks are speedy and languid, thick ruffles, and dirges. In parts it feels like one’s stumbled upon a forgotten incredible ’70s folk record but that feeling gets broken quickly by clever sleights of hand. Caye’s balladry is angular, time is elastic. Each song is a fresh cape. How dandies really mean it, so masc- that it’s fay, how the only moment is this one and it’s just passed, etcetera.“While it doesn’t really sound like anything else, there are moments that feel like a Latin-flavored Nico, that’s edging its way towards some of the outings of the Sun City Girls. In my opinion it checks all the boxes, by checking none of them.” —Bjorn Copeland, Black Dice “A truly interesting conglomeration of loose inspirations and conjurings. A hard to decipher sound all together which makes it worth every moment...a sprinkling of Catherine Ribeiro, Dr. John, Terje Rypdal and Nico. Far-out sun-soaked odysseys and moon-dappled woodland night creepers...” —John Dwyer

Thom Morecroft’s new live single 'The Beast' is unafraid to show the scars. Liverpool, UK — Thom Morecroft’s new 7 inch single ‘The Beast’ has
already been described by writer Paul Du Noyer (NME, Q, Mojo, Word) as “that killer finale”. Recorded live at Studio2, Parr Street, it captures the Shrewsbury-born singer-songwriter closing the launch of his latest album in his hometown of Liverpool.
Following the release of the rich and layered ‘Feng Shui and the Sushi’ album, ‘The Beast’ brings everything back home to an acoustic guitar, the raw voice and a captive audience. A personal story of family alcoholism and mistaken identity, it captures a
young artist at his most direct and vulnerable; giving just a little too much away.
After a UK album tour cut short (and the thrill of a huddled audience for many a distant memory) Thom wanted to reach out with a song that could only really be heard live.
Available on 7” Vinyl and across all digital platforms. For more information, promo requests, or to arrange an interview, get in touch via details at the top.

Limited marble coloured vinyl

There’s a lonesome vibe to his brand of heartland rock, evoking late nights on a deserted road, or neon-lit streets just after a rainstorm.” (Brooklyn Vegan)
“His music has a distinct cinematic quality to it, as it explores the weird, grotesque, and strangely beautiful corners of the human psyche.” (Noisey)


'Highway Dancer' was the latest addition to Calvin Love's catalog of cerebrally-crafted, atmospheric indie pop, before his b-side and rarities album 'Night Song' came out via Taxi Gauche Records a year ago. The album stems from the same period of songwriting as his 2017 EP, Ecdysis, and encapsulates the observations and inspiration from Love's life on the road. 'Highway Dancer' is now re-issued on vinyl.
"The songs you hear on this album were compiled from a larger collection over the past three years. Many of the songs are the subconscious soundtrack to my life and travels before my mind had a chance to conceive them. Inspiration came from everything that attracted my inner soul to the external forces and beauty this world has to offer."
For fans of: Weyes Blood, Father John Misty, Cut Worms, Sam Cohen

The album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State sponsored tour of Eurasia, such as when he observed in Turkey a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time, a rare meter for Western music. Columbia president Goddard Lieberson took a chance to underwrite and release Time Out. It received negative reviews by critics upon its release, but despite this, it became one of the best-known and biggest-selling jazz albums, charting highly on the popular albums chart when 50,000 units sold for a jazz album was impressive. It consequently produced a Top 40 hit single in "Take Five", composed by Paul Desmond, and the one track not written by Dave Brubeck. The cover art is just as important as the LP itself featuring specific artwork created by S. Neil Fujita best known for his covers for CBS Records, which introduced abstract art to jazz LP packaging.

Legendary activist and Afrobeat originator Fela Kuti used his
music to lament social injustices and political corruption in his
native Nigeria. Fela’s legacy spans decades and genres,
touching on jazz, pop, funk, hip-hop, rock and beyond. While
this impact can be felt in Nigeria and the entire world, it also
greatly affected Fela’s son Femi and his son Made, both of
whom carry his legacy as torchbearers for change. Partisan
Records release two albums from Femi and Made, packaged
together and appropriately titled ‘Legacy +’.
Both albums that make up ‘Legacy +’ are steeped in the
tradition of Afrobeat invented by Fela but each also offers their
own unique vision.
Femi’s ‘Stop The Hate’ honours Fela in a traditionally fun,
sharply political and affirming way. Meanwhile Made’s
‘For(e)ward’ is a modern and progressive freedom manifesto,
pushing boundaries of the subgenre even further. Made also
performs every instrument on his album.
Both albums also feature portraits of Femi and Made, done by
Brooklyn-based artist Delphine Desane, whose work was
recently featured on the cover of Vogue Italia.

Craft Recordings is pleased to reissue four classic, remastered titles from legendary jazz artist Chet Baker. Set for release on March 5th and available for pre-order now, the albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be available on March 5th across digital platforms in hi-res 192/24 and 96/24 formats.

Nonesuch releases a remastered, special edition of the 2005 record Our New Orleans for the first time on vinyl. The two-LP set, also available digitally, includes five previously unreleased tracks: ‘Do You Know What It Means’, by Davell Crawford; ‘Let's Work Together’, by Buckwheat Zydeco and Ry Cooder; ‘Crescent City Serenade’, by Dr. Michael White; ‘Walking By the River’, by Dr. John; and ‘Do You Know What It Means’, by The Wardell Quezergue Orchestra featuring Donald Harrison.

The $1.5 million raised from the 2005 release went toward providing housing in partnership with low-income musicians and others through the New Orleans Habitat Musicians’ Village, a concept that was developed by New Orleans Area Habitat for Humanity, working with Branford Marsalis and Harry Connick, Jr. Habitat–built homes in the village now provide musicians and others of modest means the opportunity to buy decent, affordable housing. The centerpiece of the village is the Ellis Marsalis Center for Music, dedicated to celebrating the music and musicians of New Orleans and to the education and development of homeowners and others who live nearby.

For Our New Orleans, many of the Crescent City’s best-known musicians recorded songs that are integral to their lives and that express their feelings about the city and the trauma of Katrina. The album was made swiftly and simply, over the course of a month, in one-day sessions across the country. Nick Spitzer, host of public radio’s New Orleans–based American Routes, contributed liner notes to the record, as did Pulitzer Prize–winning author Richard Ford, also a Crescent City resident. Other producers who made enormous contributions include Mark Bingham, Ry Cooder, Joel and Adam Dorn, Steve Epstein, Joe Henry, Doug Petty, Matt Sakakeeny, and Hal Willner.

Nonesuch’s parent company – Warner Records, part of the Warner Music Group – donated all production costs for Our New Orleans as part of the Group’s larger efforts on behalf of hurricane victims on the Gulf Coast. Many others involved in creating the album also generously donated their time and services.

Nonesuch President David Bither recalls, “What was most remarkable to me was the immediate response of the musicians. Many were in New Orleans when Katrina struck. Many lost everything they owned including even the musical instruments that are their livelihood. Yet they responded within days to the question of whether they might participate in this project. The emotion and the power of Our New Orleans come both from their anguish and from their incredible generosity.”

And the label’s Chairman Emeritus Bob Hurwitz said, “When we pick up a CD booklet, we usually skip over the page that says, ‘Special thanks to…’, but in the case of Our New Orleans, it is, after the listing of the musician’s names, the most important part of this package. Everyone wanted to help – studios that insisted on contributing free time, caterers, photographers and videographers, instrument rentals, producers, engineers – every step down the line, people gave, not only their profits, but absorbed all of their costs. It was an incredible outpouring of generosity.”

“Our New Orleans is a testament to the power of music to heal and provide a sense of community,” said Marguerite Oestreicher, Executive Director of New Orleans Area Habitat for Humanity. “Musicians helped the city heal after Hurricane Katrina, and Musicians’ Village helped them come home. We’re grateful to Nonesuch and everyone who worked on this album. This year has brought new challenges to everyone, but especially to our culture-bearers. This re-release could not be more timely.”

Considered by many to be one of the best live albums of all time, this classic album by The Allman Brothers Band, recorded at the pinnacle of their success, was a huge hit for the band. In 1971 The Allman Brothers Band was already one of the most popular groups in America, but by the time this album hit the streets their brand of Southern rock had become a national obsession. One of Rolling Stone's "500 Greatest Albums Of All Time," it was the band's last with guitar hero Duane Allman, who was killed in a motorcycle accident later that year. Two 180-gram LPs with two bonus tracks.

'Rodriguez', the enigmatic subject of the 2012 Academy Award®-winning documentary, Searching for Sugar Man, released two albums with Sussex Records, 1970’s Cold Fact and 1971’s Coming from Reality. Out of print on vinyl for several years, both albums are newly remastered by Alex Abrash at 'AA Mastering set for release on August 30 release by Sussex/UMC on CD and 180-gram black vinyl.
'Cold Fact' is the debut album from singer-songwriter Rodriguez.

It was released in the United States on the Sussex label in March 1970. In 1971 the album was released in South Africa by A&M Records.
In 1976, several thousand copies of Cold Fact were found in a New York warehouse and sold out in Australia in a few weeks. It went to Nr. 23 on the Australian album charts in 1978, staying on the charts for 55 weeks. Coming from Reality is the second and (to date) final studio album from singer and songwriter Rodriguez, originally released by Sussex Records in 1971.

The CD for Coming from Reality features three additional bonus tracks, originally recorded in 1972-’73 for a third album that was never completed. The tracks were co-produced by Dennis Coffey and Mike Theodore, who also co-produced Cold Fact.
The tracks were first issued in 2009 on the Light in the Attic CD release, and they were also featured on the Searching for Sugar Man soundtrack.

12” album of previously released Dub album by Nkrumah “Jah” Thomas from Kingston, Jamaica. Re-issued on WHITE vinyl.

Nkrumah “Jah” Thomas is an esteemed reggae deejay and record producer who first came to prominence in the 1970s, later setting up his own labels ‘Midnight Rock’ and ‘Nura’.

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.



But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.



Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon

10th Anniversary reissue of Cloud Nothings acclaimed and beloved debut album.
Clear w/ Opaque Light Blue Marble LP - Uncoated Jacket with Spot UV Gloss on Cover Photo, w/ download card.

It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way.

The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

All the tracks on Turning On are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like “Hey Cool Kid” encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet.

limited edition of 400 copies on black vinyl.

'the commentary of the worst reality show you can imagine...Britain'

Following the recent self-titled mini album, Dead Sheeran returns with his full debut album 'A National Disgace'. Once again Dead looks at the way the country continues to spiral downwards into oblivion in his usual satirical and tourette-like way. Pianos and strings play over harsh basslines and hip hop beats, and punk rock fuses with video game soundtracks, while the lyrics paint a dark picture of the situation we find ourselves in. The album was started in the last throes of Lockdown 1, with songs such 'Can Things Get Any Worse?' 'The Problem With This Country' and the government's failed attempts at getting UK furloughed workers to get out and harvest fruit in 'Pick For Britain' narrating the crazy days of Summer 2020. As lockdown eased, and society started to erupt, tunes such as 'Kicking Off In The Streets, and 'Keep Your Distance' started to come into play. Self awareness, social media abuse, litter louts and right wing mates all come under fire over the duration of this 11 track album, with the moods changing as regular as the F-bomb gets dropped. Essential listening for these strange times.

Dead Sheeran aka Paul Catten writes, produces, mixes and plays all instruments on this. From programming beats, fiddling with synths to recording himself playing Pac-man, Dead pushes further musically than the previous release. The influences of the Sleafords, The Fall, The Streets and the many punk outfits that influence him still rumble in the distance, but make no mistake, this is a Dead Sheeran record. He has carved out his own sound and vibe on 'A National Disgrace', and as Dead will tell you, this is only the beginning…

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.