Pop & Rock Vinyl New Releases - News

Italo Disco classic from 1984 with Longdrink and Flemming Dalum remixes!

The Disco Express serves up five of its best tracks from its debut year as a record label with various artists spanning from across the globe…

The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.

A fresh re-press of an Italo Disco club classic: My Mine - Hypnotic Tango. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed in 1982. Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out.

“Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 legendary DJ Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” named after Knuckles' club the Power House, the mix has added vocals by Frankie.

This reissue also includes the “Hypnotic Mix” released in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli.

Available on vinyl for the very first time. ZERO 7 4th album Yeah Ghost from 2007, spans everything from dance pop to acoustic folk and everything in between it's an idea-splattered work of genius that even includes a quartet of instrumental tracks derived from their experimental side projects and sampled, overdubbed and rebuilt from scratch.

Elf hymnischen Songs, die die Brasilianer der politischen Lage ihres Heimatlands gewidmet haben. "IV" entstand unter schwierigen Bedingungen. Durch die Machtübernahme von Jair Bolsonaro hatte sich für brasilianische Punkbands vieles massiv geändert. Es ist ein technisch versiertes und extrem kämpferisches Stück Hardcore-Punk in der Schnittmenge Propagandhi, Dag Nasty und Municipal Waste.

Der Plan sah vor, im Frühjahr 2023 direkt wieder ins Studio zu gehen, bei dem alten Freund Paul Grau in Motril, Spanien. Noch euphorisiert von der gelungenen Herbst-Tour machten Gisbert zu Knyphausen, Moses Schneider und Tobias "der dünne Mann" Friedrich Nägel mit Köpfen und buchten, was zu buchen war. Einziges Problem: sie hatten keinen einzigen neuen Song. Aber man wächst an seinen Aufgaben, nicht wahr? Irgendwo in der untersten Schublade, hinter der Rolle Zwirn, dem Anspitzer und der Ballpumpe lag dann doch noch das ein oder andere Instrumental, ein halbes Lied, ausgeschwitzte Reime und drei angebissene Texte. Um Weihnachten herum kamen in einem klammen, kleinen Übungsraum noch diverse ganz neue Stücke hinzu. Im Januar 23 traf sich die Husten-Delegation mit der Live-Ergänzungsmaschine Marcus Schneider (Gitarre), Ben Lauber (Schlagzeug) und Arne Augustin (Keyboard), um 15 oder 16 neue Lieder zu arrangieren. Obwohl Motril nicht mit Wärme und Sonne geizte, sahen sich am Ende der zwölftägigen Aufnahmen alle etwas verwundert an ob der Düsternis der Stücke. Wie sollte man das Konvolut sinnvoll auf einem Album anordnen? Also alles auf Schwarz. Von dunkel nach hell.Auf dem Weg kommt man aus dem dystopischen "Bis morgen, dann" an der Trauer von "Ja und ja" vorbei, schaut "Elli" dabei zu, wie sie unter die Armutsgrenze rutscht, bettelt "Lass mich bitte nicht in Ruh", blickt auf "Die andere Seite der Angst", sieht dem verblichenen Träumer Achim hinterher, tanzt "Nüchtern im Club", stellt sich hinter dem "Flamingo Hotel" ein paar philosophische Fragen, erinnert sich an ferne Tage und "Weiße Tiger" und bittet die Welt um Vergebung, da der perfekte Song auch mit "Für immer und ewig" nicht gelungen ist. Am Ende erschien es nur logisch, das Album "Aus einem nachtlangen Jahr" zu nennen.Ladies and Gentlemen: Aus einem nachtlangen Jahr - wohin auch immer. PS: Es passt sprichwörtlich ins Bild, dass die Berliner Künstlerin Tina Berning an wunderschöner Melancholie kaum zu überbietende Zeichnungen beisteuerte, für die Dunja Berndorff das perfekte Artwork fand.

21-year-old New Zealand musician Arjuna Oakes's debut EP,
The Watcher, is a showcase of his ability as a singer-songwriter, instrumentalist and producer, and a testament to his depth of engagement with music. The first two tracks on the EP fit neatly
within the jazz-infused soul music landscape he is quickly becoming part of, but the latter half of the EP is far harder to categorise.

Featuring instrumentation from some of New Zealand’s most exciting young jazz musicians, The Watcher explores a wide variety of themes and musical ideas, with Arjuna’s charismatic soul vocals and robust sonic palette serving as a connective thread. From big social issues to personal relationships and internal self-discoveries, across The Watcher, Arjuna takes his cue from the title track and exploration of mass surveillance, and it’s relevance within our everyday lives.

This watcher theme continues throughout the rest of the EP, with the stories told rendered as if being observed by an outside force. Decorated by cinematic soundscapes, hypnotic grooves, creative improvisation and catchy melodies, Arjuna's debut is a test palette for his future projects, one that makes his enthusiasm to develop and explore themes and style in song abundantly clear.

Welcome to the world of Night Time Transmissions -- here/hear the anxious calls of sleepless tenants, interdisciplinary collaborations, night walks, urgent canons and chants of cosmic healing. Bergur Anderson's first album is an ode to the voice, and a deep dive into the rich waters of polyphony and polyphonic storytelling.

Junei, the guitarist behind The Space Army Band, who would team up with his brother, General Lee, to form The Lost Weekend remains a pivotal character amongst the music scene of his hometown, Gary, Indiana.

Working closely with local indie groups & producers, such as Gordon Keith of Steeltown (Jackson 5's first manager), Junei would spend the 70s writing & recording whilst touring with artists such as The Emotions, Curtis Mayfield & Albert King.

Junei's calling card came to be in 1987, when he released his single 'Let's Ride' & 'You Must Go On' on local imprint, Pharoah's Records. The following year, he teamed up with Bernard Walker to produce a signature of that late-80s bedroom indie sound, cemented by the ideology & instruments used.

As Junei recalls..

"Bernard Walker approached me based on my reputation around town. He told me about this song that he wrote called "My Lover." Initially, he wanted to record a demo but I convinced him that I could do an actual finished production of his song, right from my small project "tape based, 8-track" basement studio. The sessions took place in Gary, Indiana in the basement of my parents home inside my small bedroom recording studio. The equipment used was a Fostex 1/4" 8-track recorder, Fostex 1/4" 2-track recorder, Fostex 12-channel mixer, Sennheizer vocal microphone, Korg DW8000 Synthesizer & a Roland R8 Drum Machine. As he sang the lyrics, I began composing what I heard in my head, then I recorded to tape each instrument one at a time (keyboards, drum machine, etc..) until we were satisfied with the production, then he laid down his lead vocals and I helped him sing the background vocals. Afterwards, I did some tweaking and then I transferred it to my 2-track reel-to-reel recorder, and that was it. He was totally pleased of the outcome."

Essential South African jazz, funk and soul - An anthology dedicated to the legendary Black Disco ensemble. Distilling the group’s recorded output into a single commemorative document, Discovery 1975-1976 compiles cuts from the lauded Night Express album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album Black Disco 3, a trippy, flute-driven awakening of soft light and gentle colours.

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.

On the heels of their epic various artists compilation, As-Shams Archive have produced a doozy of a compilation of some very essential South African jazz.

Orange Vinyl

Support from Lane 8, Timo Jahns, Shane / Fish Go Deep, Adana Twins, Yves Tomas, Audiosmith, Florian Kruse, Kirill Slider / Goom Gum, Dave202, David Granha, Avidus, Sasha c/o, Claptone c/o, Rich Vom Dorf, Argia, Nick Wessaert, Dennis Ferrer c/o, Super Flu, Holger /
Smash TV, GLOWAL, Ruede Hagelstein, Riva Starr c/o, Peter Kruder, Chaim, Paul C, Paco Osuna, Alfa Romero, Adriatique, Rauschhaus, Elif (TR), Cammora, Mr.Diamond, John Digweed, Franco De Mulero, VONDA7, Nico Morano, Jerome Price, Nhar, Beatamines, Angelo
Ceci, Anthony Pappa, Undercatt, Praveen Achary, Ruben Mandolini, Marco Faraone, Sobek, Tocadisco, Rodg, and Eelke Kleijn

Feral art rock from the gritty depths of ’90s Manhattan. Japanese-Italian guitar symphonies for 120 Minutes refugees and Keith Haring enthusiasts alike. Blonde Redhead’s self-titled 1995 debut, in print as a definitive single LP for the first time since… ever.

“These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of ‘60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy.” —Arto Lindsay

A bit of blues here, a bit of rock there, and maybe even a little jazzy improvization, with numerous inspirations from the folk music of various cultures, and the never absent, albeit not always conscious Turkish modes and vaguely reminisced melodies.

A songwriter accompanied by a team of marvellous musicians who left an important imprint on the Turkish music scene since the 80s.

Bülent Somay, an academic, writer, translator, political activist, educator and musician, is a former member of the Turkish Jazz-rock-fusion group Mozaik. He rolls up his sleeves and dusts off some old songs that were never published before with 'a little help from his friends'.

A modern soul number that fits today's disco sound, and on 45, what's not to love here ?

"Sweet Maybe" is a driving slice of sassy modern soul. A honeyed, sizzling affair with proper live band delivering the goods and featuring Bart Davenport on vocal duties. Over on the flip, the Synthstrumental version is a party jam that romps along in full-on disco-funk mode.

If there's one thing that drives Casbah 73 as a DJ and a producer, more than anything else, it is his love for the music. An all-encompassing, life-consuming affair that gives shape and direction to the distinctive sounds he creates, whether on the dancefloor or in the studio. And he has been on fine form of late, with a superb string of releases combining craftsmanship, live musicians and dance floor suss.

Featured singer LA's Bart Davenport is an old Lovemonk friend of
The Loved Ones, Incarnations & Honeycut fame.

This EP sees the third outing for Celestial Being, with creator Felix Buxton ( Basement Jaxx ) unveiling a recorded version of the Love Frequency Trilogy, sung by Citizens Of The World Choir & London Contemporary Voices ( LCV ) accompanied by some further sonic ethereal journeys.

Celestial Being creates music and art with Spirituality and Connection to the Divine at its core.

Love Frequency Trilogy was performed twice last year, by the ‘Got Soul Choir’ (created to combat loneliness and isolation) as part of the Edinburgh Wellness Festival and by Citizens Of The World Choir (Refugees and friends) & LCV as part of a global Peace Broadcast for International Peace Day 2020 with Peace One Day.

The Trilogy consists of:
‘Awake’ - A hymn to the power of now and a realisation of the divine essence in all of us.

‘Raise The Vibration’ - Spiritual jazz dance for free spirits calling us to ‘Raise The Vibration, all throughout creation!’

‘The Love Frequency’ - A meditative mantra accompanied by Crystal Harp harmonics of the love frequency and healing harmonics.

Accompanying tracks include:

‘Finding Our Way’ a shamanic trance-inducing deep house journey.

‘Always’ Uplifting angelic voices move through a cathedral of space and time. Spacey Alternative Electronic.

‘New Moons’ a John Cage-esque minimal soundscape of lunar awakening.

‘Love Tones’ for deeper reflection and meditative connection to the ‘Love Frequency’.

Love Frequency Trilogy: "I have been looking into the nature of sound and it’s healing properties for several years and discovered one of the best ways to heal ourselves is through singing with others. Incredibly, when we do all our heartbeats come into alignment and start to beat as one. In a pursuit of the Frequency of Love and also having heard about miracle DNA healing through transformational sonics I was determined to combine these factors and the result is ’The Love Frequency’, says Felix Buxton,
'Our truest, sweetest melody is always with us and within us. We don’t need to learn it, it is simply there and there to share, where just need to find it.'

CB03 EP will be released on digital (14th May) and vinyl (Summer 2021) with artwork by Celestial Artist Silvy Liu.

Ceremonia ("Ceremony") is the first collaborative release between singer songwriter Luvi Torres, and producer Chancha Vía Circuito. Combining exceptional voicework with powerful creative rhythms typical of Chancha, the lyrics include mantras Luvi uses in their therapeutic exercises, thereby immersing us in a healing musical world.

Taken as a whole, the album's four tracks, Abro ("I Open"), Creo ("I Believe" or "I Create"), Sano ("I Heal"), Amo ("I Love") encourage sensitive receptivity. Luvi's vocals are enveloped by lush ambient dub. Chancha's rhythms and vibrations create a comforting and calming soundscape that invites a sense of timelessness and expansion.

At times Ceremonia spirals hypnotically, blurring the distinction between inner and outer worlds. This music calls for attentive listening and encourages active individual and collective reinvention.

A psychedelic ride from the Austrian capital, encompassing
modern electronics, choral pop and contemporary jazz.
Clemens Bacher returns as Cid Rim. His last album,
‘Material’, was awarded BBC 6Music Album Of The Day,
achieving as many as four A-list singles. He won a Gilles
Peterson Worldwide Award and attended Africa Express
with Damon Albarn and Brian Eno. Collaborator to Petite
Noir, kmalumkoolkat and Denai Moore, he caught attention
with show-stopping mixes for Sky Ferreira, Chvrches and
The 1975.
But it is on his own records that we get a sense of
Bacher’s scope. Cid Rim grew up the keystone of the vital
club scene of Vienna alongside close friends Dorian
Concept and The Clonious. For ‘Songs Of Vienna’ he
relocated to London and crafted a new formula which
reconciles kraut, psychedelia and jazz into detailed
electronic pop.
Behind his impressionistic vocals lie themes exploring
Vienna’s privileged place in the world: a safe haven for the
European project rich with imperial history and culture. It
was only here in the early 21st Century that Clemens and
his friends could forge this hyper-specific club scene which
still refuses category.
LP pressed on white vinyl with printed inner sleeve.

After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop / The Soundcarriers) have re-joined forces to introduce Co-Pilot. Each the other’s wing person, they’re plotting an escape through Manchester’s claustrophobic grey skies with the pencil case colour of a hand-sewn multi-coloured primary school patchwork quilt. “We are both the creators in charge of navigating Co-Pilot’s overall sound which changes from track to track,” Leonore hints at what to expect. “There are about 6 different genres on one album, it's a pick n mix record!”


Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al’s city centre Dookstereo studio. The former Mill allowed the pair to relax, laugh and create without constraint. Armed with their original demos and vocal recordings from Al’s flat, they’d nip by the offie to pick up some Dutch courage before setting to work: building arrangements from a drum beat and basic chord pattern, the pair were so in tune they rarely spoke, allowing only the music to lead the way. “We’d communicate through nods of agreement or grimaces of dismay,” Leonore recalls. “Using the instruments with Al in production mode, we let the sound dictate the process whilst being drunk enough to follow it.”
The sound of life coming full circle after honing their separate crafts, Leonore had previously played keys and vocals in Jim Noir’s live band before moving on to front International Teachers of Pop for two critically lauded albums of joyous dancefloor filling bangers - their self-titled debut (2019) and Pop Gossip (2020). During that time Al would further expand Jim Noir’s universe with AM Jazz, which was celebrated as the no.1 album in Piccadilly Records’ ‘End of Year Review’ (2020), followed by the Deep View Blue E.P. (2021) cementing his status as one of Manchester’s finest songwriters.
As Leonore added her vocal magic to Al’s early demos of what would eventually become Co-Pilot’s ‘Spring Beach’ and a crooked original version of closing track ‘Corner House’, the vibe was prophetic “like the ending of Grease as Danny and Sandy take flight through the clouds”, letting their imaginations fly. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. “From messing about with sounds during rehearsals in the very beginning it was always clear we liked the combination of sounds we made,” Leonore recalls.
Powered by a ‘try anything’ approach, Co-Pilot blends the musical DNA of what you’ve come to expect from each of the pair’s previous flight paths. “Whatever is switched on or nearby gets used. There's no 'correct' for us. If it sounds good, record it,” Al tells. United through typically turbulent wonky pop and lurking samples, whether culled from 70s TV themes or recreations of past and found sounds (see Al’s 60s tropicalia guitar on ‘Brick’, or the innocent ‘Swim to Sweden’ which opens with an ice cream van jingle Al recorded from his bedroom window) their process offers up a bucket load of Easter eggs. The album even features snippets from dearly departed pal Batfinks whilst ‘Motosaka’ is perhaps the most expensive 2-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto’s ‘Thousand Knives’. Its synth squelches and Tom Tom Club funk also received the blessing of Haroumi Hosono, Godfather of Japanese Electronica, who agreed to being sampled in an original version of the song. “We just kept listening back and hitting gold,” Al recalls. “I was thinking ‘yeah, not sure what this is but I like it! We were buzzing with what we had made.”
But the sound wouldn’t come without self-imposed instrumental challenges. Thanks to an old mellotron sample on ‘Move To It,’ the moog riff and nautical accordion breaks on ‘Swim To Sweden’ and the 6/8 and 7/8 jaunt of ‘Brick’, time signatures were lovingly skewed to create Co-Pilot’s unique mood. “It was a bastard getting the drums right,” Leonore reveals, “but I like the wonkiness”. Levelling up through the lyrics, the words of smoky and evocative ‘She Walks In Beauty’ are based on a Lord Byron poem, with the sentiment of remembering Leonore’s late grandparents. “I wanted to see how much I could get away with just singing on one note, and how I could harmonically change everything else around it vocally,” she says. Elsewhere ‘Can You See’ was written from the perspective of a concerned sister to a brother which tells of keeping someone safe. “The lyrics are quite metaphorical about day-to-day happenings, people loved and lost. Others are rhythmic nonsense! It’s up to the listener to figure out what’s true.”
It’s clear from Al’s productive production techniques and Leonore’s knack for vocals and lyricism, Co-Pilot’s course is engineered by two aeronautically adept sonic storytellers. “We share a pretty similar sense of humour,” Al tells, “It is funny listening to this quite serious album but knowing we were giggling as we recorded it all. It’s been great to have another brain to bounce off.” Their destination might be unknown, but the clouds are about to part for a sound that is light years ahead. “You'll like at least one song,” Leonore suggests, “and hopefully them all.”

Originally released in 1983 as a cassette and an EP containing three tracks – The Search,I Just Thought, and Schoolbooks Decide on Innocent Records. This is a remastered version of the cassette including an unreleased track.

Electronic Post Punk and Synth Pop, waves travelling in circles, spiralling around solid blocks of underground experimental rhythms. A proper treasure in the hidden realm of eighties experimentation. These songs demonstrate some of the most brilliant occult songlines in musical innovation of their time. They have the marks of domestic pieces of art where you can hear the anxious tension between the mechanical production of goods and the need to consume pleasure in your free time; just as unsatisfying, just as devoid of essence. Around this dialectic, we hear the result of home made repetitive music as a reflection on consumer existence. Not conceptual but very much thought out, the success of these tunes is both their initial idea and the end product. We can hear a solitary room of composition and an exhibition in an art gallery interacting with bodies. The imaginative sound design and very catchy composition make this one of the most memorable entries in the fertile and innovative musical canon of its time.

David Chesworth (born 1958, Stoke-on-Trent, United Kingdom) is an Australian-based interdisciplinary artist and composer. known for his experimental and at times minimalist music. He has worked solo, in post-punk groups (Essendon Airport,Whadya Want?), electronic music, contemporary ensembles and experimental performance. Industry & Leisure was partly written while Chesworth was Artist In Residence at the Praxis Community Art Foundation in Fremantle, in1981.

Remastered by David Chesworth. Including the original tape insert/poster and new liner notes, photos, etc

FFO of: A Certain Ratio or Talking Heads of “Remain In Light” mixed with Dark Day, Ike Yard, Din A Testblid, Marc Barreca…

Repress !

Private Selection Records founder and curator Dreams comes crashing in with a 6-tracker falling between thick body music and gnarly, frenzied electro. With ragged rhythms, reverberating synths and heart-wrenching vocal elements these tracks tie together a dystopian journey beginning with sheer rampage, leading to devastation and ending in hopeless ruin.

EDDIE DANIELS- PLAYIN' HIDE GO SEEK/ WHOA WHOA BABY

Eddie's 'other' Ebb rocker - more Little Richard inspired mayhem

When Fleetwood Mac released their first live album in December 1980, it captured the legendary band’s most iconic lineup on stage demonstrating the full scope of their collective, creative powers. Recorded mostly during the world tour for Tusk, Fleetwood Mac Live delivered a double-album’s worth of exhilarating performances that included massive hits like “Dreams” and “Go Your Own Way,” “Rhiannon,” and “Don’t Stop.”

Rhino gives the band’s live debut a much-deserved encore with a new 3-CD/2-LP collection that features a remastered version of the original release on both 180-gram vinyl and CD, plus more than an hour of unreleased live music recorded between 1977 and 1982 on the third CD. The set also includes a bonus 7-inch single featuring previously unreleased demos for “Fireflies” and “One More Night.”

This Super Deluxe Edition is presented in a 12 x 12 rigid slipcase and comes with a booklet filled with rare photos, a full itinerary for the Tusk Tour, plus a history of the live album by writer David Wild.

FLEETWOOD MAC LIVE: SUPER DELUXE EDITION will be available from 9th April 2021.

It's the date that Soul Intention Records presents, hot on the heels of the much acclaimed album release, their very first 12" single. And what a scorcher it is.

A brand new mix of "Get Into Your Life" by the legendary Tom Moulton, both full length and radio edits. Together with an extended mix of the album version.

When doing this mix, Tom said "you have no idea how much I LOVE "Get Into Your Life" ....." and regarding the finished mix "A lot of Heart went into it"

I'm sure you'll love it as much as we do and Tom does.

On “Dizzy Strange Summer”, Genevieve Artadi offers a window into her ad-lib creativity and the LA community where it’s been nurtured. This is the vocalist, composer and producer’s second solo album, and it sees her stake out her own ground outside of her other groups KNOWER, Expensive Magnets and Everything’s Under Control.

She brings her own slant to the DIY LA scene that she’s grown up in, melding influences from jazz, psychedelia, bossa nova and avant-garde electronics. “Dizzy Strange Summer” marks not only Artadi’s debut on Flying Lotus’ Brainfeeder imprint, but her first self-produced project released on any record label.

An impulsive spirit underwrites every part of the album, something reflected in the energy Genevieve devotes to create the videos to accompany them. It’s an honest, unmediated reflection of the period in which she created the music, supported by a close circle of like-minded musical friends including - but not limited to - Louis Cole (Brainfeeder), Sam Wilkes (Leaving Records), Henry Halliwell, Daniel Sunshine, Adam Weissman (Pollyn / Real Bad Man), Ruslan Sirota, Ross Garren, David Binney and Jacob Mann — each of whom she tapped up to add their flavour to songs where she felt their styles or talents aligned. Most tracks would begin life on her laptop, be sent to a friend for them to add their spin to it, before coming back to Artadi to be elevated to their final form. Reflecting on what drives her to create, she says: “Sometimes I just really get that burning feeling to make something and get it out there.” Above all, this is an album that speaks to that drive: to create something and share it with people.

The album was written in a time of upheaval, something reflected in both the lyrics and the sound of the record. “I was pretty lost… but enjoying feeling lost,” Artadi says. Drawing inspiration from the tumult around her and she relished the opportunity to express herself uninhibited by the shackles of compromise associated with collaboration. Crucially, this often means a silly, playful side being played off against a serious one; but she doesn’t think the former
undercuts the latter, seeing the two as vital shared ingredients to what she does. “I don’t feel like I would be giving an honest picture if I didn’t do both,” she says.

‘Dizzy Strange Summer” revels in juxtapositions, unleashing high energy assaults at full tilt before giving way to soft-focus melancholia, allowing Genevieve to show off the full spectrum of her vocal prowess. On the first single ‘Living Like I Know I’m Gonna Die’ for example, her delivery is beautifully understated and airy: “Living like the future is a guess, living like I’m smaller than a speck”. “I sing it softly ‘cos it’s an internal proclamation... a message to myself,” she
explains. She displays this vulnerability on ‘All I Want For Now’, ‘Before The Dark’ and ‘Will You Tell Me’ too - the later a stunning duet with harp. Elsewhere, on ’Godzillaaaa’ for example, her delivery is informed by ESG and Talking Heads, stomping past on a stark riddim in a whirlwind of distorted percussion and synths

140g crystal clear vinyl LP in an artworked inner sleeve housed in a 3mm spined outer sleeve. Artwork by Genevieve Artadi. Includes MP3 download code

JARV IS... truly evolving. From its earliest recordings beginning
in an actual cave, via the enticing hypnotics behind the mantralike tracks ‘Sometimes I Am Pharaoh’ and ‘Must I Evolve’, the
exquisite yet candid storytelling of ‘Swanky Modes’ and timeless
anthem-turned-inadvertent lockdown soundtrack, ‘House Music
All Night Long’, the debut album of the Jarvis Cocker-led band
JARV IS... proved a standout swirl of creativity, invention and
vision on its release last summer.
 Yet ‘Beyond The Pale’ has continued to inspire long after the
sessions for the record stopped. Despite being divided by the
pandemic, audiences came together around the album, Jarvis
and co made a live film based on the album with pioneering
directors Iain Forsyth and Jane Pollard entirely underground in
a cavern, and intriguingly other musicians and producers have
continued to be intrigued by the songs Cocker and his band
created. The latter now has yielded an entirely new way of
hearing ‘Beyond The Pale’ as, for the first time in his career,
Jarv is releasing a remix album based on one of his records.
 Boasting re-imaginings and re-stylings from the likes of David
Holmes, Dennis Bovell and Greg Wilson among others, the
record is a collaborative mix that offers new focus and insight
on the music of one of this generation's greatest songwriters,
while also allowing the remixers’ own unique characters to take
flight within JARV IS... creative cave.
 Paving the way for JARV IS… ‘REMIX ED…’ is Hot Chip's
brand new version of ‘House Music All Night Long’, a brilliant
demonstration of the exchange at the heart of this project -
Jarvis Cocker and the London band have been frequent
collaborators over the years - as Cocker’s emotionally raw
vocals are relocated within a dazzling new disco wonderland
conjured up by Hot Chip. It not only captures the spirit of the
remix record and ‘Beyond The Pale’, but of the concept that
drives Jarvis Cocker’s band too, because thanks to the
creativity at its core JARV IS... anything it wants to be.

Jayda G, die Grammy nominierte Produzentin, DJ, Umwelttoxikologin und -aktivistin, meldet sich mit ihrem neuen Album, „Guy“, zurück. Das Album wurde gemeinsam mit Jack Peñate produziert (der bereits mit Künstler:innen wie Sault, David Byrne und Adele zusammengearbeitet hat), mit Beiträgen von Lisa-Kaindé Diaz (von Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) und anderen.

Das Album erscheint nach ein paar ereignisreichen Jahren, in denen sie für einen Grammy nominiert wurde (für ihre Single mit Fred Again.., „Both Of Us“), eine Reihe hochkarätiger Remixe für Taylor Swift und Dua Lipa veröffentlichte, auf den größten Festivals und Bühnen der Welt spielte, darunter Glastonbury und Coachella, eine Compilation für die renommierte „DJ Kicks“-Reihe und eine hochgelobte Zusammenarbeit mit Aluna veröffentlichte, als Gastjurorin bei der BBC-Show „Glow Up“ auftrat, ihre Jugendliebe in ihrer kanadischen Heimatstadt Grand Forks heiratete und an der immersiven Installation „Undercurrent“ (New York, Juni '21) mitwirkte, die sich neben Künstler:innen wie Khruangbin, Nosaj Thing, Mount Kimbie und Bon Iver mit der Klimakrise befasste.
Das neue Album, „Guy“, stellt Jayda Gs eigene Stimme und ihre Lyrics stärker in den Mittelpunkt als je zuvor. Die 13 Tracks basieren auf ihren House-, Disco-, R&B- und Soul-Wurzeln und betonen gleichzeitig ihr Feingefühl als Pop-Songwriterin, durchsetzt mit Archivaufnahmen ihres verstorbenen Vaters, William Richard Guy. Trotz der manchmal traurigen Natur des Ausgangsmaterials erweist sich das Album letztendlich als eine erhebende und positive Erfahrung, sowohl musikalisch als auch von der Botschaft her, die es vermittelt.

Formate:

- Standard CD in FSC-certifiziertem Gatefold. Um die Produktion der CD zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat.
- Farbiges*, limitiertes Standardvinyl in FSC-certifiziertem Gatefold inklusive Downloadcode. Um die Produktion des Vinyl zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat. *Haftungsausschluss: die endgültige Farbe kann vom Mockup abweichen

There’s something about rebuilding connective tissue through music that will never get old, it’s a story that will never exhaust its purpose. Jerome return with ‘LP2’ their first proper slab of wax and deliver a dystopic manifesto of controlled ferocity and dark electronics that explores pain, rebirth and acceptance.

Formed in London in 2019, the Italian/Swedish/Greek duo of Annalisa Iembo and Stella Mathioudakis has been slowly perfecting their raw soul freeing music in opposition to their classically trained backgrounds. The improvisational escape of their acclaimed debut ‘Moods’ has morphed into a pulsating industrial beast, a sub heavy cascade of noir jelly. ‘LP2’ was recorded over a period of 5 days locked in a small room in the Italian flatlands and then further developed and refined between Italy-Sweden during the pandemic. It’s like if the techno remnants of early Downwards Records and Regis/Surgeon collaborations have been gracefully destroyed into a fluid rhythmical rural dreamland, where joy and rays of light are allowed to timidly peak in. No better song could encapsulate Jerome’s spirit than album opener ‘2050’, a steady deep ecstatic low thud dictating the premises over metallic reeds gently strummed by the wind and Stella’s commanding haikus generating human empathy. ‘Push Me Harder’ is and EBM induced anthem featuring

As part of the 50th anniversary of Blue celebrations, Rhino announces the release of Joni Mitchell’s Live at Carnegie Hall 1969, which will be released on 29th October 2021 as a 3LP set. The album is a vinyl breakout from the Joni Mitchell Archives Vol. 2 collection exploring the period leading up to the release of Blue in 1971.

The 3LP set features Mitchell’s complete Carnegie Hall debut, recorded on 1st February 1969, a few months before the release of her second album, Clouds, which would win Mitchell her first of nine Grammy Awards.

Composer/saxophonist Kenny Garrett emerged as a distinctive voice on the national scene in 1978 with an undisputed aptitude for emotive melodic phrasing that led him to collaborations with Woody Shaw,
Freddie Hubbard, Art Blakey and Miles Davis.
With Sounds from the Ancestors, Garrett remembers the spirit of the sounds of African ancestors from church services, recited prayers, songs from the work fields, Yoruban chants and African drums, alongside tributes to Roy Hargrove and two drum pioneers - Art Blakey and Tony Allen - who all looked into the past
to influence the future sound and evolution of jazz.

Having released his debut album Around The Corner in 2018, as well as a critically acclaimed LP in collaboration with Los Angeles-based musician Tristan de Liège two years later, Keno aka David Hanke's latest opus, Out Past The Current, brings together not only some of his finest remixes from the past four years but also a handful of new and exclusive works.

Once again Hanke's love for more downtempo styles is on show - a passion that has immersed the producer into the electronic music scene since the early 2000s. Developing his own style over the last few years with lush instrumentations, more complex songwriting and distinctive drum programming, his songs and remixes ease the mind with echoes from the past.

Horacio Vaggione (born 21 January 1943) is an Argentinian composer of electro-acoustic and instrumental music whose music is regularly played worldwide in major centers and festivals of contemporary music. "La Maquina de Cantar" (1978) is his first solo recorded work; originally released on the Italian Cramps Records label as the 18th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, "La Maquina de Cantar" is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes

In celebration of the 10th anniversary of Lady Gaga’s iconic album Born This Way, Born This Way The Tenth Anniversary includes Lady Gaga's original Born This Way album, along with six new versions of songs reimagined by artists representing and advocating for the LGBTQIA+ community, including Kylie Minogue, Big Freedia, The Highwomen, Orville Peck, and more. The 3LP version includes 3 additional tracks.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Next up from Mind Fair is a crafty cover of cosmic classic, That Thing, by That Thing. Originally released as a currently scarce 12 on AVI in 1977, That Thing was a one-off synth-pop project produced by Dutch musician Geertjan Lacunes – who worried the outer limits of various European hit-parades during the ‘70s and ‘80s under the alias Jerry Rix. German label Jupiter picked up the quirky curio and repressed it as 7 for wider distribution, no doubt envisioning that they’d licensed a novelty monster the scale of Chicory Tip’s Son Of My Father - which alas was not the case.

The track was however a firm favourite of pioneering Italian DJ, Daniele Baldelli, since its wonky bass riff can be heard spinning in and out of a multitude of his legendary mixtapes - where it`s twisted, almost inverted, by the maestro’s use of EQ.

Back in 2020, Mind Fair have fashioned a faithful but you-betcha beefed-up reworking. The crazy lyric - care of Chicken Lips cohort, Johnny Spencer - and cowbells accompanied by un-MIDI-ed Moog and modular synth twitches, italo arpeggios and fuzzed guitar tones.

Fabrizio Mammerella delivers a remix that's like a meeting of NYC’s Emergency Records, and Belgium’s Antler and Subway. Chris Barbosa and Morton, Sherman and Belluci. ‘80s New York and ‘90s New Beat. Dropping the chorus into devastating delay, chopping Johnny up into percussive Pop Muzik snippets. Sealing the psychedelic deal with a deft dose of analogue acid.

In comparison, Eric Duncan’s re-imagining, initially comes across as kinda muted, but that’s just to catch you off guard. While pitched down, and the drums for sure more sedate, it’s definitely the trippier of the two revisions - with all sorts of strangeness throwing abstract shapes deep in its detail. That 303 now sounding severely stoned.

It’s like that cat at the afters, the one who commandeers the drinks table in the kitchen and then bends any and every unsuspecting ear - spontaneously connecting the disparate dots in the universe, seemingly without stopping to draw breath - while endlessly shaking folks’ cocktails. The kind of nut that everyone knows, but can never work out how they make it home.

Tongue-in-cheek weirdness worthy of Eric’s Rub N Tug partner, Thomas Bullock, and his mate, DJ Harvey, too slow to disco, too high to stop dancing, it’s quality psyche gear for the experienced, discerning, dimensional traveler. There’s a dub for those that can’t quite handle the vocal (lightweights!).

Originally out on CD, this mix was for a free compilation for a clothes trademark, this is finally out on vinyl:) Boots Groove:)

Don't even try to find the meaning of 'Temperplane' in the Webster. The word is the fruit of Jean Waterlot's imagination, an attempt to capture the momentum that lead to the release of the 3rd album of his band Montevideo: a fantasized plane that would allow you to fly through various degrees of emotion, from where you could observe our planet Earth from above, far above.

Nonetheless it's a more conventional plane that Montevideo took to record those 8 songs, heading to New York to work with Joakim who established his Crowdspacer studio in Brooklyn a few years ago. The band decided to extend the fruitful collaboration with the French producer started on their 2nd LP 'Personal Space' in 2012. So fruitful that they also signed the record to Joakim's label, Tigersushi.

After exploring more synth heavy, discoid vibes on 'Personal Space', Montevideo are coming back to their indie roots here, a rawer energy, without abandoning their ambition to keep your feet dancing. Here, their 'psychedelic dance' vision takes on the challenge of dressing up the Beach Boys with the baggy jeans of the Happy Mondays, bringing the Pacific ocean breeze to Manchester, spreading complex vocal harmonies all over the dancefloor.

Between the band and Joakim, the communication is fluid and effortless. Like Andrew Weatherall or Erol Alkan, the studio sorcerer seamlessly mixed Dance and Rock acting as a producer from the recording to the mixing, beefing up the beats, adding the right samples where they were needed. 'With his extensive knowledge of Electronic Music, Joakim filtered our ideas through the processing of his machines' says Jean.

A special attention was brought to the vocals arrangement and they space in the mix, emphasizing lyrics that gained in depth, especially after the 4 belgians heard about the devastating terrorist attacks that happened in Brussels airport as they landed in NYC. Jean recalls: 'It was really strange to experience those terrible times in our homeland from such a distance, through American media. We somehow unconsciously fled this apocalyptic world we describe in the song Temperplane'.

Because of their Pop influences and the melting pot of cultures present in Brussels, English remains their language of choice when it comes to singing, like when they describe this 'Fun House', a nightly place to lose yourself, even scarier that The Stooges' one. The song starts like Fad Gadget and ends like The Charlatans, like a tribute to the the historical bond between Belgium and British pop music that dates back to the 80s (Factory Benelux, Les Disques Du Crepuscule...). Montevideo's dance-pop crossover sometimes evokes the psychedelic fumes of the Beta Band or Django Django (New Dandy, Empy Space), before taking a romantic New Wave stroll in Brooklyn (Sutton Street) or heading straight to the club (Calypso).

The very graphic artwork was done by the legendary studio H5, famous for iconic French Touch artworks like Super Discount. Maybe the Temperplane is actually a time traveling aircraft, bringing together Primal Scream, New Order and Metronomy and proving that there's another life after their post-punk debut and that 2018 electronic music can still enhance ambitious pop melodies to take you high, very high.

Debut full length vinyl from the UK/Italian duo of Ecka Mordecai and Valerio Tricoli, working together as Mordecoli. Individually these two travellers have carved out a path of ghostly musique concrete (Tricoli) and textural cello wandering (Mordecai). Alter is proud to present the album Château Mordécoly a result of two musicians (and friends) coming together to explore the middle ground of their individual investigations.

The results of a red wine induced residency at London’s Cafe Oto, Château Mordécoly is a panoramic audio field exploring both the physicality of sound, informed by the voice, cello and pictish harp of Mordecai, and the artificial manipulations of Tricoli’s revox tape machine. The delicate tension between the physical ‘real’ and the distortive ‘new’ leverages this release far beyond a tipsy residency and shifts it into a top tier electroacoustic take on the zeitgeist. Solo cello and voice appear rooted in the timbre of time. The magnetic tape is both a friend and covert manipulator.

The physical elements open themselves to disfigurement as a means of propagating the fantastical audio that unfolds from the initial enquiry. There’s no witchery or wizardry on part of either player but rather a symbiotic passing of the baton as the line between the real and the non-real flow in and out of themselves. The results are at once sedate, shocking and subversive.

Château Mordécoly is a disembodied sonic landscape; a phantasmagorical world of fantasy unfolds as the delicate beauty of Mordecai’s playing and singing is transformed into a playful and unusual landscape. Epoch’s are evoked as the visual stimuli resulting from these alchemical transformations conjure everything from a haunted house to the Middle Ages.

Tape

Next up on VEYL is a new face on the label but no stranger to the music world. NEVER is the project of Stefano Santi, a multi-instrumentalist and electronic music producer who has been active since the early 2000’s. After several years of working as an audio engineer and touring the globe with bands, he has
always had a parallel life as a producer with a club affinity. NEVER began in his own SPVN studio during the pandemic amidst the isolation of lockdown. His inspiration reborn after abandoning all boundaries and giving little care to traditional songwriting structures.
The result is 'JXDY', the new album which showcases the project’s diverse voice and technical prowess. Not confined to a particular genre, the release masterfully touches on everything from post-punk and shoe gaze to hints of death rock and electronica. From the opening strings of 'RXBT', we’re taken to a
relentless world of shadows and bleeding emotion, which conjures nostalgia of days long gone while maintaining an ominous sense of future. From the euphoric, pulse pounding action of 'HVRXLD' to the utter heartbreak of 'CXLE', NEVER weaves in and out of agitation, rage and regret, fueling a fire that that
continues to burn from beginning to end.
Navigating to the crushing 'HXRNE' through the menacing tones of 'BLVCKBXRN'until finishing things up with the heartbreaking, cinematic feel of the title track, 'JXDY' is nine offerings of uncompromising passion and pain, leaving a lasting imprint on both the mind and body.