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Multi-talented US punk, Jeff Rosenstock releases fourth album on Specialist Subject Records (UK /EU) & Polyvinyl (Worldwide)! NO DREAM comes at a time of unparalleled chaos and confusion, division and despair, the depths of which would have been impossible to predict when much of it was being written over the course of the last few years. And yet the record feels prescient, unexpectedly and uniquely suited for this moment. Newly settled in Los Angeles after a lifetime on the East Coast (namely Brooklyn by way of Long Island), Rosenstock recorded NO DREAM with Jack Shirley (Deafheaven, Hard Girls, Joyce Manor) at Oakland's Atomic Garden, and even took on mixing duties alongside Shirley for the first time. Opting to stay off the computer "even more than usual" and record to tape with outboard gear, the result is a lived-in sound that gives each song its own individual voice and organic energy. After building a cult following with the acerbic ska-punk of the Arrogant Sons of Bitches and DIY heroics of Bomb the Music Industry!, Rosenstock's first proper solo record, 2015's We Cool?, was a step into uncharted territory, fully untethered from genre and expectation. Followed by 2016's WORRY. and the surprise New Year's Day launch of POST- in the early hours of 2018, Rosenstock was facing down that least punk of opportunities: a career playing music. Having taken some time away from his work as a solo artist to recalibrate and reset over the last year, Rosenstock stayed busy playing alongside Mikey Erg, recording and touring with the Bruce Lee Band, releasing a Neil Young covers record with frequent collaborator Laura Stevenson, reissuing two of his own out-of-print early albums, compiling a live album which was recorded during a run of four sold-out shows at Bowery Ballroom, making a 76 page photo book, and scoring over 80 episodes of the Cartoon Network series Craig of the Creek. In fully returning to his own voice, it's no surprise that Rosenstock's output has never been more eclectic, reflected across NO DREAM's 13 songs.

Speed, Glue & Shinki’s last album has been reissued in a gorgeous specification that faithfully reproduces the original, including the entire volume band! Released in 1972. It is a two-disc set that became the last album. Famous for its tiger jacket. There are a lot of songs that seem to be centered on Joey Smith now, but Bluesy Rock is fully opened like the previous work. Although some lyrical songs can be seen, the D-side medley makes heavy use of the precious Moog synthesizer at the time. Guests include Michael Hanopol, Shigeki Watanabe, Hiroshi Oguchi. The 96khz24bit sound source mastered in 2017 is used for this analog conversion. The jacket is a single jacket × 2, a full-length band, a lyrics card, etc. The original is reproduced as much as possible.

Exit Plan" ist das 6. Studioalbum von Withering Surface nach dem Erfolg des 2020er-Comeback-Albums "Meet You Maker". Der Prozess des "Exit Plan"-Albums war lang und herausfordernd mit verschiedenen Aufnahmesessions, Besetzungswechseln, Produzenten und obendrein all den Hindernissen mit Covid und Post-Covid. Die Tatsache, dass die Engagements der Band bei Copenhell und verschiedenen anderen Festivals im Jahr 2020 um zwei Jahre auf 2022 verschoben wurden, hätte Withering Surface, die nach 15 Jahren im Dornröschenschlaf ein Comeback feierten, leicht das Leben kosten können. Stattdessen wurden alle Anstrengungen in die Entwicklung von "Exit Plan" gesteckt. Ein Album, auf dem sowohl das Songwriting als auch das lyrische Konzept der Band stärker denn je erscheinen. Hinzu kommt die Produktion von Soren Andersen (Medley Studio), der
in Rock- und Hardrockkreisen vor allem durch seine Arbeit mit Künstlern wie Thundermother, Tygers Of Pan Tang und Glenn Hughes bekannt ist.

Soren Andersen war nicht die offensichtliche Wahl als Produzent für eine Melodic-Death-Metal-Band, aber am Ende war er die perfekte Ergänzung für Withering Surface anno 2024 und lieferte einen gewaltigen Over-the-Top-Sound. Das lyrische Konzept: "Exit Plan" handelt davon, Grenzen und Normen, die einem gesetzt wurden, zu durchbrechen. Einen mentalen Schlussstrich ziehen und neu anfangen. Völlige Klarheit darüber zu bekommen, wo man ist und hingeht und enden will = "Exit Plan". Songtitel wie "Where
Dreamers Die", "Mindreader", "You Hurt This Child" und "I Finally Lost (All Faith In Humanity)" haben alle eine lyrische Grundlage in der oben genannten Lebenseinstellung, Sex, Scham, Religion und einem schwindenden Menschenbild.

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Now based in Manchester, set behind a backdrop of haze with the mid 20s coming knocking, Nightbus (Olive, Jake and Zac) found common ground in their mutual taste in music.

Amongst those late nights and the hedonism that comes with them, partnered with somewhat of a compulsive nature, The question of; what next? Rang around.

In summer 2022, a desire to collaborate and make their own music was almost telepathically manifested. Evidently their sound is a testament to the scenes, eras and bands that have inspired them to make music that would stand out in an ever-expanding alternative scene.

Makin' Moves! Here we present the hot new limited Edition Vinyl EP.

Side A brings you a tantalising remix from Chicago's finest, Mr Glenn Underground! "Let It Go" originally produced by MAQman and Joseph Junior on MM, gets the special treatment where GU gives us his signature CVO mix which is sure to grab the attention of DJ's, dancers and music lovers worldwide!!!

Side B On the flip we present a man of very few words, however expresses an executes the deep soulful sound eloquently. Trinidadian Deep gets busy with championing his signature roots stylee, curated especially for the dance floor sprinkled with a little baby powder!

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'Mercury Rising' is the third studio album to be released by Rae & Christian. The duo weave together exceptional musicianship paired with a British song writing sensibility and the finest elements of studio production. 'Mercury Rising' was created at producer/musician Steve Christian's studio in Yorkshire with additional recording at songwriter/vocalist/DJ Mark Rae's London base. In London a song writing bond was formed with Ed Harcourt and Gita Langley who make excellent contributions with vocals, songs, strings and keys. Sam Genders of Diagrams threads a story of redemption lost on the Ubahn on '1975', Kate Rogers is on imperious form and rising star Jake Emlyn unravels a whole new level of microphone skills on 'Favourite Game'.
The international guests include the one-and-only Jazzy Jeff and Australia's Agent 86 dealing out world class scratch treatments on 'Check The Technique' (Tony D's vocals taken from a session recorded at the birth of Grand Central Records), Brooklyn rapper Masta Ace and Mark Foster of Foster The People, a collaboration born from Mark's L.A. excursion.

'Mercury Rising' is the first new material in many years from R&C. Their 1998 Mercury Music Prize nominated debut 'Northern Sulphuric Soul' ("Vitally fresh and timelessly classic...deserving a place alongside Massive Attack's Blue Lines' Uncut) and 2002's 'Sleepwalking' ("Another triumph, brimming with soulful, languid grooves, deft samples and well-chosen guest singers' Q Magazine) were both released on their Grand Central Records label (Aim, Riton, Boca 45, Only Child), a defining imprint of the late 90s soul/funk/hip-hop/beats scene. Guest vocalists over the two albums included Bobby Womack, Texas, The Congos, The Pharcyde, The Jungle Brothes and Jeru The Damaja.

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Twenty years ago, London Elektricity unleashed one of the most seminal drum & bass albums into the world. 'Billion Dollar Gravy' was Tony Colman's second longplayer, following the iconic debut project 'Pull The Plug' released in 1999. Widely acclaimed and well-respected for a multitude of reasons - from the iconic album artwork of Tony holding the 'Billion Dollar Gravy' picket sign, to revolutionary anthems such as album title-track 'Billion Dollar Gravy', 'Different Drum' and 'Fast Soul Music', two decades on, the album is revisited with a fresh sonic injection.

'Billion Dollar Remixes' is a meticulously crafted project which aligns a selection of some of the finest drum & bass talent with the album originals, making way for the likes of Watch The Ride, Whiney & Unglued, Mozey, Dogger & Mindstate, Zero T, Kimyan Law, Bop x Subwave, imo-Lu, Hugh Hardie and Conrad Subs to put their spin on the 2003 classics.

Pressed onto 2 x pink transparent heavyweight 12" vinyls.

Once upon a time, DJ’s were like soaring eagles, they would spread their musical wings and fly high to wherever they wanted to go musically. It wasn’t uncommon to hear hip house and go go played alongside disco and funk, or techno being dropped on either side of something a lil’ mo’ soulful. Then the DJ’s wings were clipped and clubs became musical cages for the more adventurous DJ’s, clubs evolved into one-dimensional musical prisons and beats bubbles. Unconventionally, Marcus McGowan hails from South Carolina, and it would be fair to argue that South Carolina is a bit of a house music wasteland? Perhaps it’s this simple geographical blip that has nurtured McGowan into creating a sound that can’t be affiliated to any particular city, cities such as Detroit that is generally associated with techno, Washington is the undisputed town of go go, or Chicago, which is renowned for acid house, hip house, and jackin’ house, and of course, New Jersey is the spiritual home of soulful house. What McGowan has created is a fresh, new vibe that appears to be crossing many musical boundaries and the test pressing mailout appears to have united music lovers from numerous genres of house music AND techno alike, with its deep, techy, jazzy, soulful, sweet and melliferous flavoured vibe. Luke Una boasted that “it’s the record of the year so far”, MFSB’s Yogi Haughton called it a “classic in the making”, but all said and done, the test pressing feedback from the handful that were passed out to music lovers around the U.K. is unanimous, it’s jus’ a frikin’ solid double hitter that can’t be pigeon-holed. This is a record for majestic, soaring DJ’s and music lovers, not scabby, common or garden Columbidae garbage foragers. It’s a slice of intellectual music that will perch McGowan very high up in the producer pecking order!

Essential Item Limited Edition No Re-Press...

The Talented Italian Producer, Known for His Enigmatic Project Hill and Recognized for His Previous Ep Collaboration With the Detroit Legend Javonntte on Skylax Records, Is Making a Much-Anticipated Return Under His Real Name, Alessio Collina. an Ardent Aficionado of Authentic House Music, Collina, Hailing From Italy, Gifts Us a Remarkable Lesson in His Latest Offering, the "Pieces of Life Ep." Collina's Dedication to the Origins of House Music Is Evident Throughout This Ep, and It's a Refreshing Reminder of the Genre's Timeless Roots. Italy, a Country With a Deep Appreciation for House Music, Once Again Serves as the Source of Inspiration for This Artist. the "Pieces of Life Ep" Pays a Heartfelt Tribute to the High-Energy and Groove-Laden House Tunes of the 90s, Echoing the Sounds of Iconic Figures Like Dj Duke, Marshall Jefferson, and Labels Like Strictly Rhythm. With Each Track, Collina Effortlessly Transports Us Back to That Golden Era, Capturing the Very Essence and Spirit of That Unforgettable Time. the Ep Kicks Off With the Electrifying "All of That," an Absolute Masterstroke That Sets the Tone for What Follows. Its Pulsating Beats and Infectious Melodies Are Reminiscent of the Fervent Dance Floors of Yesteryears, Evoking a Sense of Nostalgia While Remaining Incredibly Fresh and Contemporary. the Ep's Three Other Titles, "Humble Groove," "Lost World," and "Mid Season," Continue to Captivate and Immerse Listeners in Collina's World of Evocative, Groove-Filled House Music. Each Track Showcases His Meticulous Attention to Detail and His Ability to Create an Authentic Atmosphere That's True to the Genre's Roots. Collina's "Pieces of Life Ep" Is More Than Just a Musical Collection; It's a Genuine Homage to the Spirited House Music of the 90s. His Dedication to Preserving the Essence of the Genre While Infusing It With His Unique Creativity Shines Through in Every Beat and melody.

This Ep Not Only Reinforces Italy's Profound Connection to the House Music Legacy but Also Solidifies Alessio Collina's Place Among Contemporary Artists Who Honor the Past While Paving the Way for the Future. as Skylax Records Prepares to Release This Exceptional 12-Inch, It's Clear That "Pieces of Life" Is a Treasure Trove for Any House Music Enthusiast, Inviting Them to Rediscover the Magic of the 90s With a Fresh Perspective....

The bleak and foreboding landscape surrounding Keeley's North Yorkshire home seems to inhabit her third LP, 'The Hollow'. The moors, visible from her studio window, impact upon a music that feels made of these places: windswept, rain-soaked and blinking through the low-lit landscape. The album's title derives from discovering a long-abandoned mining shaft whilst out walking - the past lurking within and haunting the present we now occupy. A connection to time that places us within it, facing what is gone and what may come. But also, perhaps that time has no concern as to whether we're here or not.

Keeley's unique elemental voice again sits centrally within this world-building. Her cathartic reflections are exorcisms in song. We hear an artist making sense of her life, willing to expose vulnerability without ever appearing weak. Working again with producer Ross Downes, the LP features Matthew Bourne and Colin Stetson, Forsyth sought to expand both her voice and music. Taking aspects of sacred music, minimalist post-classical, dark ambient, film and theatre soundtracks, she layers her vocals into chamber choirs, applies pitch shifts and other digital processing, moves from clear articulate intention to mumbled numb utterances.

Composer Mihály Vig's score to Bela Tarr’s film 'The Turin Horse' is reimagined as a pressurised outpouring, recasting the everyday within a mythical light of survival and hope. On ‘A Shift’, Mal Finch's protest song ‘We Are Women, We Are Strong ‘, originally sung by wives and daughters in support of the '80s miner’s strikes, is recontextualised in solidarity for an experience of creative labour.

The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released. George Evelyn - Nightmares on Wax May 2024 This ain't no normal nightmare, kid. This is Nightmares On Wax, aka DJ EASE, aka George Evelyn. Born under a bad sign, with lino in hand, Mr. Evelyn went forth into the world and breakdanced (brokedance?). It's what you did in the 80s when you were young, loved hip hop and couldn't rap for toffee. When house arrived they turned their clever hands to it. Bleeps and beats is what it was. That's what everyone said. But there was always a bit more than a bunch of bleeps to what Nightmares On Wax did. The north never really took the name very seriously (Sweet Exorcist even named their album Clonk as a pisstake). Then George flipped the script and went and did Smokers Delight, the beats not so much seminal as semolina: gloopy and slow and sweet and lovely. And now we have this: a 2024 reissue of his seminal Late Night Tales compilation. Tom Scott's 'Sneakin' In The Back' — one of the most sampled beats in hip hop — makes an appearance in its full glory, while Quincy Jones, the inspiration for NOW's 'Nights Interlude', backs up the classics with ‘Listen (What It Is)’. Evelyn's hip hop sensibility is to the fore throughout and nowhere is this more evident than on ‘Intergalactic Throwdown' by former Freestylers' DJ, Mad Doctor X. And can we forget the sublime version of the Classic IV's 'Spooky' by darling Dusty? No, we can't. Finally — oh, finally! — there is the now-traditional cover version, with George serving up a soupy version of 'Brothers On The Slide' that gives a nod of respect to the original British funk soul brothers, Cymande. This ain't no nightmare at all: it's Nightmares On Wax.

As we embark on this musical journey, we begin with a series of singles by female-led groups that celebrate ancestral traditions through a feminist lens.

Orito Cantora and Jenn del Tambó (Orijenn), an extraordinary musical duo with more than two decades of artistic experience, have left a deep mark on the Colombian music scene as well as in various international festivals.

Orito Cantora is a talented luthier, singer-songwriter, producer, composer and feminist from Barranquilla. Jenn del Tambó, born in Barrancabermeja, is a producer, feminist, and master percussionist specializing in the rhythms and drums of the Colombian Caribbean.
She is the founder, leader and teacher of the First Network of Drummers of Colombia and Switzerland. Their music not only makes people vibrate, but also makes them think and strengthens the cause of gender equality. Their passion for music is powerfully intertwined with their social commitment, creating energetic and passionate sonorities.

Guzzle the momentum. Slap the door behind you. Run faster. The feeling pure. The attention fried. Rush from left to right. Repetition. Doorbells ringing. Where do I stand? Organizational chaos is a theory that predicts the here, the now, the never before seen or known. My attention is as pure as it is fried. Thrilled to announce that Thrills In +41 welcomes us with sheer brilliance. Let's Purifry The Attention. Solidified action. Embrace the filter. You feel it? Kicks and incredulous rhythmic action. Stuttered chopped vocals. A dash of madness and you're there. Open the door. National discoveries are about to be found. Discovery 70D is a gateway to a new portal known as... Skipman. Pull it in. Acidic drops drop harder than acid drops when you drop it because it's hot right now in the midst of this after-summer delight. Long sentences stretch like honey clinging on to your buttered knife as you make yourself toast because we're all toasted and we wrote a poem called d'Ache together that one night. Ahhh, the beat goes on. It's basically a Visual Illusion. An ambient setting wraps up this rap. Imagine tender vocals summoning the night over the howls of dusty vinyls and the digital embodiment of contemporary music making machines. We are a music making machine.

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

''More Than Ever'' is another impeccable pearl of Roberto Ferrante, considered one of the most extraordinary and evocative Italo-Disco productions, one of those songs that attracted millions of followers and made everyone fall in love with the genre. GLAM's original 1985 12inch is no ordinary record. This vinyl reissue from Planet Records Classics with stunning new mastering makes it even more special. The voice of GLAM is Clio, according to followers one of the favorite singers in the distorted and mirrored world of Italo-Disco; she always has full control of the voice, therefore a perfect interpretation, full of emotion. If you listened to ''Faces'', ''Feel the Fear'' or ''Eyes'' by Clio and liked them, I'm sure you'll love this epic piece too! Thanks again to Roberto Ferrante for this new powerful mastering of ''More Than Ever'' fresher overall, performed with much more vitality and energy.

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Landing next on Toolroom is our most recent instalment in our 4-track vinyl sampler with some of our biggest recent releases including Kurd Maverick vs Adeva, Friend Within, Retna, Toolroom head-honcho, Mark Knight and label favourite, GW Harrison.

First up is Kurd Maverick vs Adeva who makes a huge return with the infectious 'In & Out My Life'. A straight up cut of 90's house & rolling tech house influences mixed into one, sampling cuts from the feel-good classic 'In & Out My Life' by Adeva, turning the original on its head.

Next on the sampler is fresh heat incoming from DJ and producer Friend Within, the artist behind previous toolroom hits 'Lonely', 'The Truth' and 'Waiting'. Having been a secret weapon of choice for the likes of Paul Woolford, John Summit, Dombresky and Danny Howard to name a few, 'Monkeys Bars' has been bubbling for months and is now set to blow!

London based producer Retna returns to the label with Mark Knight as the pair deliver a debut collab that's been carving up dance floors worldwide in 2022. 'What I Need' takes things to the next level, focusing on Retna’s raw, arpeggiated synth line that cuts through the records tough, chunky bassline and groove. Throw in Mark Knight's magic touch for creating top-quality, club focused productions that'll tear through any system it's played through, and you'll get their latest outing – 'What I Need'.

Abode resident DJ and frontrunner GW Harrison completes the package with latest outing, ‘Feels Good’, enlisting the powerful voice of Laura Davie, the vocalist behind some of Toolroom’s most popular releases from Mark Knight’s ‘If It’s Love’ to Illyus and Barrientos’ ‘Disco Hearts’. Feels good’ offers a summertime piano house belter featuring a staunch bassline and pumping groove that pushes that euphoric, hands in the air feeling to the max.

Four killer cuts that you will not want to miss, this is ‘Toolroom Sampler Vol. 3’!


Radio:

Radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong
Alongside plays on Kiss Fm, Toolroom Radio, Sirius Xm, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse Fm, Select Radio, Tomorrowland Radio


DJ Support:

Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Dombresky, Gorgon City, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa

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Having initially forecast his production energy into his own Tartan imprint, Wallace’s music quickly developed a cultish following among record collectors and influential DJs including Gilles Peterson, Optimo, Hunee and Ryan Elliott. Another supporter has been CWPT’s founder Palms Trax, who, following releases on Studio Barnhus and Rhythm Section, snatches four highly sought-after tracks for the seventh release on the label, each showcasing Wallace’s inimitable and enviable skills as an engineer and a willingness to stoke the sort of organic euphoria that DJs dream of igniting.

Amongst the curios, rarities and other finds that have peppered Palms Trax’s sets this past summer, it’s title track ‘Willow’ that has levitated entire club and festival dance floors like few others. Escalating from a disco percussion loop, ‘Willow’ soon brings on high-energy melodies and a captivating sense of something more ethereal, seemingly reinvigorating old tricks with exciting new flavours: if you only raise your hands to one climactic snare roll this year, we ask you to make it this one.

This refreshing intersection between flourish and function is felt even more heavily on ‘Breathe’, a contemporary electronic battle weapon whose breaks-and-bassline arrangement fluctuates between weightless wonder and heavy business. Frontloaded with the detail and atmosphere of a vintage Chems or Leftfield cut, 'Breathe' exhales then explodes all the skill and reverie of the most memorable 90s techno.

Wallace appears to dip into the chillout room for the swampy rhythm of ‘Masada’, before proving his slow-motion mettle, a Sergeant Peppering of psychedelia creating true hedonistic density and groove. In conclusion and on the contrary, ‘River Dancers’ maintains subtle hypnosis at a similar pace with much less, employing simple timbres and a stuttering, innocent vocal inflection to conjure wide-eyed whimsy far downstream from the EP’s earlier, maximal wonders.

Italian producer Kikko Esse is a talented artist from southern Italy who has been showcasing his skills in producing quality deep house since 2009. Previously prolific, releasing many well-received tracks with respected labels in the underground scene, Kikko Esse makes his debut on the Italian Groovin' Recordings with an EP that sets the bar high. Soul Departure EP is arguably one of his best works to date, where deep house meets intricate melodies and live instrumentation, creating a profound journey into electronic music.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

Dave Angel’s 'Revolt' EP on Rekids Special Projects is an emotionally steamy and intense offering with jolting drums and outspoken words. The title track, ‘Revolt’, brings subtle funk while the synths are imbued with plenty of Detroit-inspired soul designed to light up any dancefloor. Angel’s 'May I Have This Dance' shows a different side, with zippy lead synths amplifying the vibes as hunched, dubbed-out rhythms march down low and keep you locked into the groove.

Following up his 2023 ‘Glide’ EP on Radio Slave’s Rekids, Dave Angel now makes his debut on its RSPX sister label with the ‘Revolt’ EP. From remixes for the likes of Carl Cox, Orbital and Underworld to underground classics on labels like R&S, K7!, and his own Rotation Records, Dave Angel’s ever-evolving sound has made him a core part of the scene for over three decades. With ‘Revolt’, Dave once again shows his uncontested production skills with an infectious double A-side record oozing character.

Original pioneers of rare groove, PUSH, make a welcome return with an existing and exciting album. Originally released in 2004, now 20 years later it’s still alive and kicking. “Push People” is a cross pollenation of classic underground rare groove and contemporary feel good funk n' soul in the shape of heartfelt songs and incredible instrumental pieces. PUSH emerged from the underground London club scene in 1987, where they were at the heart of a community that thrived on JB inspired Funk, Blaxploitation soundtracks and raw soul-jazz. Push toured Europe and Japan and were regulars onstage at Gilles Peterson's legendary Dingwalls’ Talking Loud & Saying Something sessions. They have worked with the likes of Style Council's Paul Weller and Mick Talbot and have long provided the soulful foundation for the regular European tours of US divas like Candi Staton and Marlena Shaw. The triumvirate of key band members Crispin Taylor (drums), Ernie McKone (bass) and Mark Vandergucht (guitar) also doubled up as the rhythm section for the innovative Galliano – a conscious and wayward band that sold in excess of 800, 000 albums. PUSH are one of the mainstays of the Eighties Rare Groove and Acid Jazz scene alongside Brand New Heavies, Young Disciples and Soul II Soul. PUSH is on a mission, bringing a breath of fresh air and a wealth of musical experience into a very popular scene for people that "Feel the Funk!"

Eclectic Beats Music release number 6 comes in the form of a vinyl 7” single with two Latin broken beat cuts!
The A side is a collaborative remix from Born74 and Fradinho, twisting Jorge Ivan Martin’s original track “Yo Tambien Baile La Conga” into a broken beat remix, enhancing the Latin flavours with a dance floor direction, topped up with Frank Santiuste’s trumpet solos.
On the B side, Fradinho digs out one of his earlier unreleased Latin tracks and gives it a broken beat flavour, with a Funk fusion through the bass line and synth solos and brass hits.

Jorge Ivan Martin bio

Cuban musician, composer, arranger and music teacher, Jorge Ivan Martin, spent 13 years teaching Tres in Cuba.
He is now based in Spain and still lectures at some universities in Madrid.
As a musician, Jorge blends Bossa, Reggae, traditional Cuban music with Jazz and Funk and is a Latin Grammy nominated artist with several other nominations and awards.
He has collaborated with a plentitude of Latin artists and also invited the trumpet player Frank Santiuste to add some flare to the Born74 and Fradinho remix on the “Latin Broken Beats” release.

Born74 bio

Andrew Nicholas, known as Born74, delves into the fusion of funk and Nu Jazz.
His music has been released on various labels such as Tru-Thoughts, Acid Jazz, Eclectic Beats Music, Ramrock Records, and Colin Colin presents.
Born74 has collaborated with Arema Arega (Havana Cultura), ONJ (jazz re-freshed, Tru-Thoughts), and Mark Norton (The Fantastics, BBE Records).
Additionally, Born74 is a member of The Earthsouls.
Noteworthy remix credits include Str4ta (Gilles Peterson), Nimbus Sextet (Acid Jazz), and Fradinho (Eclectic Beats).
Born74's tracks have been featured on jazz compilations like Jazz Dance Fusion (Z Records) and Sol Vibrations (MJDC).

Fradinho bio

Fradinho (Rui Fradinho) is Lisbon born Portuguese, having lived in London for 12 years and returning to Portugal in 2020.
Rui's musical base stems from a diverse range of music: rock to pop, house to techno, through jazz, soul, funk, world music, hip hop, drum and bass and from breakbeat to his main passion and current music production focus, broken beat / bruk / nu jazz.
Rui runs his own record label, Eclectic Beats Music, with 6 vinyl releases, and has released remixes for artists like Sentinel793 (Universal Magnetic), Deborah Jordan (Futuristica Music), Str4ta (Colin Curtis Presents), David Borsu (Broadcite) amongst other artists and labels.
Highlights of his DJ career so far (other than his 6-year residency at Sociedade Anonima), are the Bicaense Cafe and Lux club in Lisbon. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Peterson’s first edition of We Out Here festival in 2019, played Lisb-On festival in 2022 and currently guests at Birmingham’s BrukUp broken beat night (having played there 5 times with Adam Rock, Laura Crossley, Bruk Boogie Kru, Marcia Carr & Kwai and Yoofee).

DC Salas returns to his own Higher Hopes imprint for their third edition via the collaborative project Los Niños Del Parque with Anthony Barbarich (aka Mirror Minds), a release 15 years in the making.

The Los Niños Del Parque project came about due to the duo's mutual musical background & influence: 2000's electroclash, early electro house, new wave, new beat, and more. The idea is to produce something playful and true to the duo's roots. The EP was over four years in the making due to various obstacles, the title 'Frequencias Eternas' (Eternal Frequencies) tells the story of two long-time friends, connected to each other in one way or another.

The release is rounded off with a remix by the talented Badaboum & Rinse France resident Belaria.

Ethio-jazz composer Dawit Yifru dropped a real classic when he first released his self-titled solo instrumental album. It is strictly a compilation of 11 songs that he wrote and recorded during the 70s and have since been restored and remastered from original cassettes. They helped to make him one of the most notable artists in one of the most important eras in Ethiopia's music history as he mixed up Ethiopian Chickchika music, Twist, Congolese Rumba, and Waltz styles that all represented that time in music in the Horn of Africa country. This collection is the first in a new series from Muzikawi's Archive & Research project which looks to shine a light on some of Ethiopia's most celebrated but not internationally renowned sounds.

Parti-Pillz is back as Anthea shares four commanding cuts from promising talent Paddy Lee. The UK-based producer is quickly cementing himself as one to watch and the “Four Sides” EP gives a certain nod of approval of exactly that.

Gliding between spaced out tech-house, with a futuristic acid twist, and refined underground sounds, Paddy seems not shy of experimenting with an array of textures and vibes at this early point of his journey, teeing things up for a bright year ahead. Highly anticipated tracks in combination with the animated Northern energy of the prodigy himself make this an essential EP for your bag this Summer. Get yourself this Parti-Pillz that leaves you wanting more and more!

To mark its 50th anniversary, Farfalla Records is proud to announce the reissue of the highly sought after German library gem "Wonderland of Sound".

Originally released in 1974, the album was produced by Brillant-Musik's founder Werner Tautz and recorded in Zurich.
Wonderland of Sound is the epitome of the classic 70s library sound. A jazzy bliss orchestrated by the hottest European session players making up the Big Band "Rainbow-Orchestra".

A Splendidly funky and stunning set of compositions and arrangements with ultra-stylish horn section.

Score by 20 Time Academy Award Nominee, 2 Time Academy Award Winner, Music Legend: Randy Newman. The album is pressed on classic black vinyl and includes printed inner sleeves. The vinyl release features different artwork from the CD and digital releases. Written & Directed by Academy Award Nominee Noah Baumbach. "At once funny, scalding, and stirring, built around two bravura performances of incredible sharpness and humanity, it's the work of a major film artist, one who shows that he can capture life in all its emotional detail and complexity — and, in the process, make a piercing statement about how our society now works.”

Moonwalk X continues with ZK Bucket’s debut album mirroring his wide musical influences and production techniques from early detroit to UK wave and dub music. Techstar Liner is powered by a drumbrain and flying on ringing spring-reverbs. Stripped down rhythms, sequenced synthesizers and wide atmospheric pads with a spooky touch. Zoned-out machine music from the gritty side of town. Make sure to check the wavey vocal track “Natural Peeling”. 200 copies only.

"Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time – directly from the original tapes – and were compiled in collaboration with Corrêa just before he passed.

The result is a wild and unsettling collage that shows us just how original and intense Corrêa could be: from the unorthodox electroacoustic piece Evolução (Para Fita e Filme), which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape Exemplo de Sintetizadores, in which he transitions from transcendental drones to astral cha-cha-chas.

While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic.

Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. Suite Contagotas, featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness – a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO.

Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called Bossa 2000 dC, first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette.

The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together. The intention is to guide the listeners through this possibly tempestuous soundscape, giving them additional resources so that they may draw their own meanings and make their own sense of this extremely immersive and original experience – which is like nothing we've ever heard before."

Artist and musician Gillies Adamson Semple explores the material resonance of drone
on new vinyl-only album Volumes.

In 2022, Gillies Adamson Semple made a pilgrimage to the Valère Basilica in the Swiss Alps to play the oldest functioning pipe organ in the world. Built in 1435, this unique instrument is the centrepiece of this sensitive and stirring 6-track release, tracing the elemental themes of spirituality, anatomy, ecological collapse, and the nature of listening in its glacial minimalist drones.

Drawing inspiration from the long-form compositions of Sarah Davachi and Kali Malone, Volumes was built from in-situ recordings Semple made in Switzerland, with the aim of capturing the physical qualities of the sound, from the stops and pedals to the air rushing through the organ’s ancient pipes. Treated like sculptural material and re-assembled at Semple’s London studio in the tradition of musique concrète, the tracks evoke a sense of exquisite timelessness, at once part of and floating free of their environment.

As Semple explains: “What I like about the organ is that you can make it feel very physical. It has all these mechanical parts that sound really beautiful. And the piece is never performed. It is something that is rooted in the site. The whole pilgrimage to see this organ in Switzerland ended up acting like that, where you’re going to this very sacred place to see this specific instrument, but all you’re taking back is recording.”

Released on vinyl via Fourth Sounds, Volumes was initially conceived as the soundtrack to Semple’s 2023 exhibition of the same name at Cedric Bardawil in London.

Edition of 200 with risograph insert, liner notes by Anton Spice. Fully remastered for vinyl.

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

Warehouse Find!

FIRST TIME ON VINYL
HALF SPEED MASTERED 180 GRAM VIRGIN VINYL PRESSINGS
INCLUDES COVER ART PRINT
INCLUDES EXCLUSIVE CHRIS ISAAC COVER VERSION
INCLUDES DOWNLOAD CODES FOR THE ORIGINAL MIX AND UNMIXED VERSION IN WAV AND MP3 FORMATS

Trentemøller is the Dane who did. He's been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it's his solo material that has impacted on the dance community - and beyond. 'La Champagne' was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that's not all he is. You can hear that yearning in his productions and it's evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, This Mortal Coil. But that's not the story, it's not where the plot comes from, it's not where we're going. It's just a little indicator to reassure you we know the way. No. For it's in the dark beauty of Low's tremulous 'Amazing Grace' or even the way that the Shangri-Las' '(Remember) Walkin' In The Sand', surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we're helped along by a generous sprinkling of Anders' fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemøller's cover of Chris Isaacs' 'Blue Hotel', sung by Marie Fisker and Steen Jørgensen.

Originally released in 2010 this mix has gone on to become a classic, it was never released on vinyl at the time, so due to public demand we have carefully mastered each track and carefully cut at half speed for optimum sonic reproduction.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

Lock on for a legit excursion into 140 realness as Sneaker Social Club welcomes Silas into the fold. The breakthrough Oxford beatsmith has been on the bubble-up for a minute, facing off with the likes of Trends and Boylan on Mean Streets, remixing PRAGA and throwing down for repeat appearances on Rinse and elsewhere.

The sound Silas pushes on the ‘Wot’ EP - his debut solo 12” no less - is steeped in the original dank pressure of OG grime and dubstep, where moodiness and minimalism create the perfect storm for all-consuming soundsystem immersion. There’s a wavey swing to ‘Know Yourself’ which contrasts with the strict, claustrophobic drive of ‘Wot’. ‘Ubuntu’ on the flip teases an evocative sound world just past the edge of the mix, but manages to hold down the stripped back approach on a skippy 4/4 rhythm which nudges garage into a kind of tech-house-funky amalgamation. ‘Make It Happen’ offers yet another subtle slant on Silas’ style, crooked and gritty but still executed with
an unrelenting, austere focus.

Consider this an essential pin dropped on forward-leaning bassweight sounds which carry the torch for grime and dubstep’s ice-cold origins, maintaining maximum presence without even a whiff of derivative wobble.

In November 2021, Portland-born rapper Aminé released his latest project, TWOPOINTFIVE. The twelve-track release finds Aminé using the project to explore new sonic territory. This exploration is best evidenced by the project’s lead single "Charmander,” the video for which was lauded by GQ as the "Most Menswear-y Music Video of 2021" for its incredible styling and featured by Pitchfork as one of the best music videos of October 2021. After six months of anticipation, Aminé has prepared a vinyl offering for fans of the project to add to their collection for the very first time. Since its release, the album has amassed over 100 million streams and garnered praise from Billboard, Complex and Highsnobiety, in addition to the aforementioned support from Pitchfork and GQ. The vinyl will be sold online this summer and in-store with select retail partners. Speaking on the project, Aminé shares: "The POINTFIVE projects are the breaks in between albums where I give myself the freedom to make music without expectations, focusing instead of spontaneity and the best of what comes from stream of conscious creation, which is why they arrive unexpectedly without a long rollout. It’s an opportunity to create for my day one fans the way I used to in my bedroom. Thanks for listening." TWOPOINTFIVE takes inspiration from various strains of club and dance music, synthesized in a way that feels distinct to Aminé and his brand of clever lyricism. TWOPOINTFIVE acts as the second act to his 2018 project ONEPOINTFIVE, which is also lead with an introduction from Rickey Thompson and arrived in between Aminé's debut album Good For You and sophomore album Limbo. ONEPOINTFIVE solidified Aminé's status as a hitmaker in the modern hip-hop landscape with tracks like "REEL IT IN" and "BLACKJACK." Listen to TWOPOINTFIVE above and stay tuned for more from Aminé coming soon. Full Press Report PDF - Artist Bio - PR Report

In November 2021, Portland-born rapper Aminé released his latest project, TWOPOINTFIVE. The twelve-track release finds Aminé using the project to explore new sonic territory. This exploration is best evidenced by the project’s lead single "Charmander,” the video for which was lauded by GQ as the "Most Menswear-y Music Video of 2021" for its incredible styling and featured by Pitchfork as one of the best music videos of October 2021. After six months of anticipation, Aminé has prepared a vinyl offering for fans of the project to add to their collection for the very first time. Since its release, the album has amassed over 100 million streams and garnered praise from Billboard, Complex and Highsnobiety, in addition to the aforementioned support from Pitchfork and GQ. The vinyl will be sold online this summer and in-store with select retail partners. Speaking on the project, Aminé shares: "The POINTFIVE projects are the breaks in between albums where I give myself the freedom to make music without expectations, focusing instead of spontaneity and the best of what comes from stream of conscious creation, which is why they arrive unexpectedly without a long rollout. It’s an opportunity to create for my day one fans the way I used to in my bedroom. Thanks for listening." TWOPOINTFIVE takes inspiration from various strains of club and dance music, synthesized in a way that feels distinct to Aminé and his brand of clever lyricism. TWOPOINTFIVE acts as the second act to his 2018 project ONEPOINTFIVE, which is also lead with an introduction from Rickey Thompson and arrived in between Aminé's debut album Good For You and sophomore album Limbo. ONEPOINTFIVE solidified Aminé's status as a hitmaker in the modern hip-hop landscape with tracks like "REEL IT IN" and "BLACKJACK." Listen to TWOPOINTFIVE above and stay tuned for more from Aminé coming soon. Full Press Report PDF - Artist Bio - PR Report

Diplomat and Beagle are old studio partners from the early 90’s and have recently started to record together again, fusing their musical talents to make some next level hardcore rave.

Their last release was all the way back in 1993 on the label Bogwoppa, an EP titled ‘Small Hours’ under their group name Narc. This EP went onto cult status due to its futuristic and unique take on the sub-genre, changing hands for vast amounts on Discogs.

Featured on this EP is a remix of ‘Equatorial Bass’, a track from the original 1993 EP revamped for 2022.

Hit the turbo!

Remotif is a fast-rising star with a sound being called 'trance fusion.' He makes his mark again to that end with a new one on Especial that brings more of his modern-day ethnic styles to the driving breaks of techno following outings on the likes of Coymix and Space Lab and sets everywhere from Fabric to Berlin's Warning parties.

This one kicks off with 'U 15' which is a busy blend of shimmery timbres and sharp perc, spaced-out pads and psychedelic synths that are ever on the rise. More trance overtones define 'Glint's Pursuit' and 'The Elevated Place' is slick and sleek, ascending and always rising. 'The Sunken Place' shuts down with more slow and percolating dub mutations to round out a superb EP.

Die in Edinburgh ansässige fünfköpfige Band rEDOLENT veröffentlicht ihr Debüt über das aufstrebende schottische Label und Kreativzentrum Post Electric (Heimat von Hamish Hawk, Humor, Iona Zajac, Voka Gentle). "Dinny Geet", eine akribische Mischung aus eckigem Pop, Elektronik und eigenwilligen Melodien, bietet auf zehn eleganten, durchdachten Tracks harte Realität und freudige Flucht. Obwohl rEDOLENT so unterschiedliche Einflüsse wie Mount Kimble, King Krule, Animal Collective, Brockhampton, LCD Soundsystem, Madvillain, Tom Vek, Clairo, CAN und Talking Heads zitieren, gehen sie zweifellos ihren eigenen Weg und kreieren einen eigenen maßgeschneiderten Sound.

Die in Edinburgh ansässige fünfköpfige Band rEDOLENT veröffentlicht ihr Debüt über das aufstrebende schottische Label und Kreativzentrum Post Electric (Heimat von Hamish Hawk, Humor, Iona Zajac, Voka Gentle). "Dinny Geet", eine akribische Mischung aus eckigem Pop, Elektronik und eigenwilligen Melodien, bietet auf zehn eleganten, durchdachten Tracks harte Realität und freudige Flucht. Obwohl rEDOLENT so unterschiedliche Einflüsse wie Mount Kimble, King Krule, Animal Collective, Brockhampton, LCD Soundsystem, Madvillain, Tom Vek, Clairo, CAN und Talking Heads zitieren, gehen sie zweifellos ihren eigenen Weg und kreieren einen eigenen maßgeschneiderten Sound.

Freedom is deeply rooted in the working-class rock of the 70's and 80's, giving us a sound like no other. With meaningful lyrics, power chords and mighty choruses, they're inevitably creating a soundtrack to the journey of life itself. Nicke Andersson once described Freedom as a "bargain basement Springsteen" - a band making music meant to follow you through thick and thin, far into those never-ending summer nights.
Since Freedom first started in 2019, they've established themselves as an amazing live act, filling clubs throughout Sweden with both energy and audience. In 2022 they were honorably chosen to play at the official release party of The Helicopters at the notorious Hamburger Börs in Stockholm.

The band recently added two new members to the crew: Ola Göransson (Heavy Feather, Stacie Collins) and Matte Gustafsson (In Solitude, Siena Root, Heavy Feather). Their combined experience of heavy roots-rock and sense of stage presence, makes Freedom one of Swedens strongest live bands - guaranteed.
Their self-titled debut album from 2021 became a great topic of conversation, leaving a permanent mark in the rock-world of Sweden. Finally, it's time for the awaited second album to be released - once again produced by Martin "Konie" Ehrencrona (Viagra Boys, Håkan Hellström and Les Big Byrd).

Freddy McKays "Creation"-Album, das von Ossie Hibbert produziert wurde, enthält eine gut gewählte Mischung aus Originalen, die bald zu Klassikern werden, sowie eine Auswahl inspirierter hymnischer Neuinterpretationen. Es spricht für die Qualität dieser Veröffentlichung, dass sich diese inspirierten Interpretationen mit den Originalen von Burning Spear und Dennis Brown messen können. Die Auswahl an subtilen Dub-Versionen der enthaltenen Songs unterstreicht die Brillanz der Musiker, die im Stil der klassischen "Rockers" spielen, die die zweite Hälfte der siebziger Jahre dominierten.

Im Laufe der letzten zwei Jahrzehnte hat Kevin Barnes, kreative Kraft hinter Of Montreal, seine Fans mit faszinierendem Pop und hypnotisierenden Liveshows begeistert. Seine in der Szene zur Ikone gewordene Songwriting- und Produktionsästhetik mündete in Kollaborationen mit Solange, Janelle Monáe und Jon Brion. Auf dem neuen Album wechselt Barnes mit jedem Song zwischen den Genres, die von Gitarren-Psychedelia-Pop der späten 60er bis zu experimentellem Funk-Pop reichen. "Lady On The Cusp" ist ein weiterer spannender Hörgenuss von einem der produktivsten und einflussreichsten Künstler unserer Zeit.

“Not a lot of people talk about the true origins of bluegrass music,” says Swamp Dogg, “but it came from Black people. The banjo, the washtub, all that stuff started with African Americans. We were playing it before it even had a name.” Blackgrass, Swamp Dogg’s remarkable new album, is no history lesson, though. Produced by Ryan Olson (Bon Iver, Poliça) andrecorded with an all-star band including Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan, the collection is a riotous blend of past and present, mixing the sacred and the profane in typical Swamp Dogg fashion as it blurs the lines between folk, roots, country, blues, and soul. The tracklist is an eclectic one—brand new originals and vintage Swamp Dogg classics sit side by side with reimaginings of ’70s R&B hits and timeless ’50s pop tunes—but the performances are thoroughly cohesive, filtering everything through a progressive Appalachian lens that nods to tradition without ever being bound by it. Special guests like Margo Price, Jenny Lewis, Justin Vernon, and The Cactus Blossoms all add to the excitement here, but it’s ultimately the 81-year-old Swamp Dogg’s delivery—sly and playful and full of genuine joy and ache—that steals the show. The result is a record that’s as reverent as it is raunchy, a collection that challenges conventional notions of genre and race while at the same time celebrating the music that helped make Swamp Dogg the beloved iconoclast he’s known as today.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

witching seaside ambience for a sound shaped by inner-city living, Atelier’s second full-length studio album, Lights Towards The Exit, channels the mood of a sleepless cityscape.
Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020 a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.
Both Alexander and Jas moved to Berlin in the period before the release of Varsam Court from their hometown of Cape Town, South Africa, where their first album was written and recorded. Moving provided some challenges, particularly with what was the most essential equipment to bring from their previous studio set-up, but those limitations proved to be useful in incorporating new instruments and techniques to the recording process.
Lights Towards The Exit was written and recorded in different spaces in Berlin – from bedrooms in apartment blocks to three different studios across the city. The different locations all had a specific ambience – such as 4th- and 5th-floor bedrooms with busy street views; a studio with no windows in a typical old Berlin backyard complex forever under threat of being sold and gentrified; and a bigger studio with windows on the opposite side of the corridor overlooking the backyard of a mechanic workshop. The final details and edits were completed in Atelier’s current studio, in a contrasting area surrounded by office blocks, plazas, 9-5ers and, most importantly, their friends and colleagues.
Swapping the mountains, sea and seclusion for tall buildings, backyards and a new community, Lights Towards The Exit channels the sensation of being surrounded by people, but still feeling like you're on your own. The album was written through three years of cold winters, sweaty summers and a period where the world stood still during the pandemic. Frustrated with the cease of momentum, but still optimistic, Atelier disappeared from public view, abandoning social media to focus on recording, songwriting and experimentation.
It was a difficult time: the duo longed to perform and continue producing music, and the imposed limitations sometimes felt like an impossible obstacle. Ultimately, though, this would provide inexpected inspiration and influence the sound and direction of the new album.
The sound of Lights Towards The Exit is not a departure from their first album, but a progression: influenced by the new surroundings in the duo’s adoptive city, Atelier’s second album is an ode to first-time experiences, new languages, challenges, club culture and the shift from youth to maturity, as well as a balm to those stuck somewhere in between.
The overall sound is a lift not in tempo, but in energy, matching the openness needed to make a new start in a new place.

Volume 3 of a set of collaborations between the prolific Argentine polymaths Reynols and the inescapable Acid Mothers Temple. Recorded in Buenos Aries on AMT’s 2017 South American Tour, the music has identifiable sonic elements from both groups but ends up sounding like neither, with a surprising weightlessness that keeps things jammy and psychedelic until the final track’s blustering rock. Taking up most of side 1, “Kicking Air Bricks” has a loose Gong/’70s Euro-classic vibe, with Satoshima Nani getting to swing on the drums in a way that isn’t always part of AMT’s steamroller, while the rest of the gang layers in abstract piano, percussion, glissando guitar, etc. “Multiverse Turtle Reflex” closes the side with a thick drone coda. Side two starts with Miguel Tomasin’s gentle vocal and organ accompaniment on “Smelling Oneiric Asado” before the group gradually gathers momentum with Wolf’s thick bass anchoring layers of clean and loose guitar interplay. “Lemurian Tsunami Inside A Hat” is a thriteen-minute heavy rock epic, with the Reynols’ guitars going head to head with Makota Kawabata’s easily recognized interjections, ramping up into a riffy crescendo.

SIMON AND GARFUNKEL’S SWAN SONG: BRIDGE OVER TROUBLED WATER FEATURES METICULOUS PRODUCTION, GORGEOUS SONGWRITING, AND HEALING SPIRIT
Sourced from the Original Master Tapes and Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180s SuperVinyl 33RPM LP Plays with Staggering Detail, Clarity, and Definition
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Unifying, soothing, comforting: Simon and Garfunkel's Bridge over Troubled Water quickly became the album of an era upon release in 1970, the benchmark set serving as a beacon of hope and hymn of reassurance during a time marked by polarizing changes, social unrest, uncertain politics, and the dawn of a new era. These uplifting reasons — to say nothing about the gorgeous songwriting, meticulous production, and watershed performances — attest to why it is more relevant than ever in our current climate. Music, Bridge over Troubled Water simultaneously suggests and proves, heals all wounds and lifts all boats.

The seminal effort Rolling Stone named the 51st Greatest Album of All Time reaches illustrious sonic and emotional heights on Mobile Fidelity’s 180g SuperVinyl 33RPM LP. Pressed on MoFi SuperVinyl and strictly limited to 4,000 numbered copies, this ultra-hi-fi collector's edition brings you closer to music that picks up where the duo's Bookends leaves off. You'll enjoy deep-black backgrounds and pointillist details. Seemingly every note, breath, and movement is reproduced with exquisite accuracy, clarity, and balance. Each rotation benefits from SuperVinyl’s ultra-low noise floor and superb groove definition.

The best-selling record in the U.S. for several years running and winner of six Grammy Awards — including nods for Record of the Year, Album of the Year, Song of the Year, and Best Engineered Recording — Bridge over Troubled Water endures as a staple of accessible sophistication, angelic elegance, effortless singing, unhinged ambition, and therapeutic spirit. While it would turn out to be the final studio set for a duo surrounded by creative and personal disagreement, Simon and Garfunkel's collaborative ethos and soaring harmonies — combined with reflective narratives centred on the American experience, friendship, romance, and farewells — combine to turn the 11-track work into a paean to resolution, reconciliation, calm, and balance.

Home to the legendary title track graced by Garfunkel's pacifying solo lead vocals as well as the equally famous folk ballad "The Boxer," Peruvian-based "El Condor Pasa," upbeat "Cecilia," and rock ’n’ rolling "Baby Driver,” Bridge over Troubled Water remains as renowned for its musical diversity as its lyrical poignancy. Moving beyond the templates they'd perfected on four prior albums, Simon and Garfunkel embrace a then-unimaginable swath of styles. Rock, pop, gospel, country, R&B, South American, and jazz strains course throughout the songs, each sparked with bold experiments yet grounded in a well-orchestrated melange of melody, rhythm, and classicism that makes everything personal, familiar, and warm.

Not for nothing is Bridge over Troubled Water one of the finest-sounding albums ever made. Featuring instrumentation helmed by members of Los Angeles' fabled Wrecking Crew as well as multiple choral and string sections, songs took hundreds of hours to complete and involved pioneering recording techniques. Evoking both Phil Spector's live"Wall of Sound" approach as well as inventive effects, Bridge over Troubled Water is a triumph of texture, atmosphere, and architecture. Our audiophile edition brings the record's unique traits to the fore.

Whether the reverberation generated by Garfunkel's cassette recorder on "Cecilia," echoing drums captured in a corridor heard throughout "The Boxer," automobile noises peppering "Baby Driver," layer upon layer of voices dotting "The Only Boy Living in New York," or echo-chamber percussion on the title track, details comes through with stunning accuracy, clarity, and dimensionality. In every regard, Bridge over Troubled Water exudes genius.

1973 was an amazing year for the pop/rock duo Hall & Oates as they ushered their superstardom further with the incredible second album masterpiece Abandoned Luncheonette.

Produced by the great Arif Mardin, this nine-song album fused with classic Philly soul, rock and acoustic pop anthems delivered in a big way for the history making duo. Including the huge hit single "She's Gone," as well as the celebrated title track, Abandoned Lunchonette was a watershed album which has rewarded them with non-stop success for the past four decades.

Abandoned Luncheonette is the most commercially successful of the duo's Atlantic Records period; the album reached No. 33 on the Billboard Top LPs & Tapes chart. Twenty-nine years after its release, the album was certified platinum (over one million copies sold) by the Recording Industry Association of America (RIAA).

This top-notch Analogue Productions reissue is pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Originally released in 1976, the War compilation album Greatest Hits contains a monster set of Chicano funky grooves from L.A., most of which forever transformed the sound of funk. The album includes most of the band's best cuts — such as "Slippin Into Darkness," "Cisco Kid," "World Is A Ghetto," "All Day Music," "Me & Baby Brother," "Why Can't We Be Friends," and "Low Rider." One of the hippest funk, rock and soul groups on the Cali scene of the '70s, who just kept on making great music as the years went on!

Now with our 45 RPM release, plated and pressed at QRP, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound.

It is the contrasts that make the Iiro Rantala HEL Trio so appealing. As a pianist, Rantala often captivates with great lightness and ravishingly supple lines. On the other hand, Anton Eger, with his irresistibly delicate playing, and Conor Chaplin, with his weighty and agile grooves on the bass, bring their very own idea of sound and design to the music.

In The Red Records is proud to announce a previously unreleased new album by Brooklyn-born master of minimalism Alan Vega, Insurrection. The eleven songs here showcase the unparalleled vision and uncompromising force from one of the most influential artists of all time. Alan Vega was born in Brooklyn in 1938. He co-founded the legendary New York City punk band Suicide with Martin Rev in 1970. Suicide’s groundbreaking 1977 debut is considered one of the most influential albums of all time. Vega considered his solo records the audio counterpoint to his visual art that reflected the world around him while simultaneously exploring universal themes. It makes his work as relevant today as it was when he created them. It was during his highly experimental period beginning in the late ’80s that he began working with Liz Lamere, who became the most crucial collaborator of his solo career until his death in 2016. Lamere, along with Jared Artaud, resurrected these newly unearthed collection of lost recordings, which they co-produced and mixed. Lamere and Artaud spearhead the Vega Vault project, which aims to bring rare, unreleased and back catalog work spanning Alan Vega and Suicide’s career to the public for the first time. On Insurrection, Lamere says: “Insurrection was created in the time period around 1997/98, after Mutator and prior to Vega’s 1999 release of 2007 and captures the intense energy of NYC in the ’90s rife with crime, killing, hate, fascism, racism, and moral bankruptcy. You can hear the tortured souls floating through this album. Post-Gulf War angst still enveloped Alan. He was having premonitions about a major terror attack in the US, well before 9/11. The upcoming birth of his son raised further awareness of the state of our world. All these emotions are mirrored in the sounds he magnetized. And true to Vega form, there remains hope and empowerment coursing through the tracks. In the almost three decades of going into the studio with Vega, we recorded significantly more material than the seven albums released. Vega’s intention was to experiment with sound which would become the canvas for the poetry that reflected his vision of the universe. Because the goal wasn’t to make albums, he had no timeline or constraints and would freely follow new paths uncovered along the way.”

This will be available on ltd edition pink vinyl, with only 250 copies pressed.

We are delighted to welcome the incredible Masal to the Up In Her Room family! Masal is a collaboration between Al Johnson and Ozlem Simsek. Ozlem is a Turkish multi instrumentalist whose middle eastern background is entwined with her western studies in classical music. Al performs psychedelic electronic music as Alien.

As Masal they weave harp, Theremin and electronics into a beautiful aural journeys. Having worked with legends such as Andy Bell & Mark Gardener of RIDE, and Sonic Cathedral, plus enjoyed radio play from the wonderful Simone Butler of Primal Scream on Soho Radio, and Mark Riley and Stuart Maconie on BBC 6 Music, we are very excited for you to see what the pair have been cooking up.

‘The Galloping Cat finds this unlikely pair of “neurodiverse nature lovers” collaborating on six meandering tracks of psychedelic grooves, electronic weirdness and motorik basslines mostly wordlessly exploring themes of self-discovery – and it’s stunning.

Sonic Cathedral – March 2023

The Galloping Cat is a work of compassion and tenderness. It’s also surprisingly funk (see ‘Dying Days’ and ‘Dokuz’) with Al revealing hitherto undiscovered Clyde Stubblefield-style chops behind the (digital) drumkit.’

Even Butterfly’s Make A Sound – March 2023

2025 Repress

Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.


The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.

Listening to The Softies has always felt like peeking into a diary, with no personal detail spared. Lyrically the band documents a lovelorn heart in every manifestation, and hope is the bright silver lining adorning each song. As the third Softies album, Holiday in Rhode Island KLP119 presents a more accessible view to the humble honesty of their emotive universe. When Holiday in Rhode Island was originally released in Sept. 2000, it had been three and a half years since The Softies previous album Winter Pageant [KLP061]. In that time Jen and Rose's introspective musings are reborn, sparkling with renewed vision, both musically and spiritually. The trademark harmonies between Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze) simply shimmer, brighter than ever before, benefiting from strong yet simple arrangements and excellent production (at a house on Galiano Island near Victoria, British Columbia) by Dave Carswell and John Collins. The beautiful surroundings and supportive production crew inspired The Softies to extend their minimalist blueprint of two delicately jangling guitars and two crystalline voices to include acoustic guitar embellishment on "Just a Day," "You and Only You;" piano and sparse drums on "Me and the Bees;" a xylophone makes subtle appearances here and there. Holiday in Rhode Island is a stunning artistic accomplishment from these two much heralded pop icons.

BGP are excited to launch their new 7s at 33 series which aims to deliver classic album length tracks in their full length on 7-inch singles.

Although a new series, we have experimented with this before, releasing Tom Moulton’s extended version of Patti Jo’s ‘Make Me Believe In You’ in 2016 to an ecstatic response and great sales.

‘Leaving This Planet’ was the title track of Charles Earland’s 1974 album of the same name: one of the finest jazz albums of the 70s. This Track was played at the Loft and other New York dance clubs in the 70s.

Here it is coupled with ‘Murilley’, an organ led vocal number that was a massive jazz dancer at the Wag Club, Dingwalls and beyond in the 80s.

The band have released a steady stream of singles over the last few months, receiving international airplay and strong support across the UK Radio network. Their second single, “Cry” was playlisted on BBC Radio 2 for three weeks in early 2024 and was also heavily rotated on BBC 6 Music and KEXP in Seattle. The follow-up ‘Make It Happen’ was premiered on 6 Music by Craig Charles, who touted Wonder 45 as “One To Watch” in 2024.

Now with the release of the stunning single, ‘Nothing’s Gonna Change’, we are delighted to announce Wonder 45’s debut album, “Wonderland” is set for release on Friday 31st May and is available on LP and CD. We’re currently taking wholesale orders and I wondered if you would be interested in stocking some copies?

The delivery should come at the beginning of May so please let me know if you’d like me to put some copies aside for you and if you’d like to put them up for preorder straight away.

‘EVERYTHING IS HERE’ is a journey through space and time, inspired by the more rarefied aspects of prog rock and the wistful side of psychedelia.


Fusing these influences with the accessibility of French electronic and the groove of R&B and disco, this album depicts the sweet dizziness of contemplation. Nostalgic, yet determined and modern in it’s genre blending, the first album of Kartell truly reveals what’s been underlining in his previous EP.

Taking influences in the space and dream pop aesthetic, the musical approach of the album embraces the 60’s and 70’s fascination for outer space, exotic locations, technologies and science fiction which was on the edge of becoming reality.

Nebulous textures and otherworldly sounds characteristic of space rock are infused throughout the record, while keeping a focus on making catchy songs, leaning on a minor-key groove and a pop yearning. It’s also a challenge and an artistic proposition to gather a wide range of genres to tell a story. Densely produced and cinematic, the album draws a truly living landscape where live bass, drums and guitars hold the line, evolving around hazy effects and synthesizer layers.

The concept behind the entire EP revolves around the power of scents, exploring how smells evoke emotions and memories from the past. Doci's fascination with scents and molecular fragrances inspired him to create an EP centered on the emotional experiences tied to different scents. Have you ever noticed how a fragrance can transport you back in time, bringing a rush of memories before your eyes? This EP is born from that very sensation. Needless to say, Doci's infatuation with fragrances significantly contributed to the effectiveness of the project. Hedione (Intro): Begin your odyssey with "Hedione," an atmospheric IDM/Experimental track. This floral molecular scent-inspired introduction gently ushers you into the EP's sensorial realm, setting the stage for a unique auditory adventure. Iso E Super & Ambroxan: Explore the intricate layers of musky, woody, and ambery scents in "Iso E Super" and "Ambroxan." These tracks, weaving through Break/Electro/Drum n' Bass genres with subtle Techno accents, offer a sonic journey that mirrors the nuanced edges of their aromatic inspirations. Each note captures the essence, presenting a balanced dance of rough and light tones. Javanol: Experience the raw energy of "Javanol" a leftfield/break Techno exploration. Reflecting the rough and woody facets of its scent inspiration, this track unfolds with aggressive synths and sounds, immersing you in a visceral encounter. Doc's musical interpretation captures the intensity of scent, creating a distinctive and bold auditory expression. In this EP, Doci skillfully translates fragrance into sound, inviting listeners on a textured expedition through scent-inspired composition

10 Year Anniversary Gatefold 2LP 10 year anniversary gatefold 2LP edition of Cult of Luna's take on Fritz Lang's Metropolis film, Vertikal. "Somewhere Along The Highway" and "Eternal Kingdom" were inspired by the landscape of Västerbotten, the county we are from. We realised that there was only one way to go for us: to the city, into the future. Making a droney John Carpenter-esque album would be too easy and we've never been about taking the simple route. I was studying film at the time and had been floored by the aesthetic of German expressionism. This resonated perfectly with Erik Olofsson, who had just got into Italian futurism. This was a real challenge. We put in a lot of effort to realize our vision of the stale, artificial city in all aspects of what an album is. The way we played guitar (only down strokes), the production, artwork and band photos, everything was done with the vision as a guide. "Vertikal" is the album where we had the most precise vision of what we wanted to do and worked hardest to transform it from an idea into reality. A lot of things happened during the years between "Eternal Kingdom" and "Vertikal" and I could continue writing for ages but this will do for now. Ten years have passed since its release and what felt like a rebirth of the band, the band that is still ongoing with new goals and missions. It's a full circle kind of thing. At the time we had no label and now we are releasing it on our very own. Life is strange. Johannes Persson - Umeå December 2022

SALTPIG is a bit of a mystery. The band just showed up seemingly out of nowhere, album in hand, with the music loudly speaking for itself. As it soon became known, SALTPIG is a two person band with Fabio Alessandrini (formerly of Annihilator) on drums and Mitch Davis handling vocals, guitar and all of the other layers of noise that can be heard on the record. The music that came out of this pairing has elements of doom/stoner/psych/occult metal and others, but they didn't go into it with anything that specific in mind. They just make the music they want to hear. Davis has been working with bands/artists including LA Guns, Damon Albarn, Billy Squier, Stephen Malkmus, Mark Lanegan, Sunbomb and U2, but SALTPIG is obviously a very different animal. For his own band, Mitch created a sound that is much darker. When he started writing the SALTPIG tracks, it pretty quickly turned into this debut album. Most of the tracking was done in their respective studios, with Fabio in Italy, and Mitch in New York where he'd do all of the final recording, production and mixing. It's melodic but embraces dissonance. It's noisy and dirty and evil sounding. Underproduced and real. It embraces imperfections as only a human can do.

SALTPIG is a bit of a mystery. The band just showed up seemingly out of nowhere, album in hand, with the music loudly speaking for itself. As it soon became known, SALTPIG is a two person band with Fabio Alessandrini (formerly of Annihilator) on drums and Mitch Davis handling vocals, guitar and all of the other layers of noise that can be heard on the record. The music that came out of this pairing has elements of doom/stoner/psych/occult metal and others, but they didn't go into it with anything that specific in mind. They just make the music they want to hear. Davis has been working with bands/artists including LA Guns, Damon Albarn, Billy Squier, Stephen Malkmus, Mark Lanegan, Sunbomb and U2, but SALTPIG is obviously a very different animal. For his own band, Mitch created a sound that is much darker. When he started writing the SALTPIG tracks, it pretty quickly turned into this debut album. Most of the tracking was done in their respective studios, with Fabio in Italy, and Mitch in New York where he'd do all of the final recording, production and mixing. It's melodic but embraces dissonance. It's noisy and dirty and evil sounding. Underproduced and real. It embraces imperfections as only a human can do.

"Like Water" is the new album from Jasper Høiby, a luminary in the realm of contemporary jazz and the mastermind behind the celebrated piano trio Phronesis, renowned for its electrifying live performances and critical acclaim across Europe. Høiby, with his latest project, introduces "3 Elements," featuring the gifted Chaerin Im on piano and the versatile Jamie Peet on drums. This new assembly not only draws inspiration from the foundational strengths of Phronesis but elevates the ensemble's synergy to new heights, showcasing a more refined and cohesive sound that distinctly echoes Høiby's bold and charismatic sonic identity. While Phronesis has been celebrated for its dynamic interplay and innovative compositions, "3 Elements" presents a more singular vision of Høiby’s artistry, melding the complexity and depth of his musical influences with a fresh, unmistakable vigour. The lineup brings together an exceptional blend of talent and creativity, with Im's evocative piano lines and Peet's dynamic rhythms perfectly complementing Høiby’s profound bass undertones. Together, they create a sound that is not just an extension of Phronesis's legacy but a distinct declaration of Høiby's evolving narrative in jazz. "Like Water" stands as a pivotal work in Jasper Høiby’s illustrious career. The album skilfully bridges the realms of innovation and tradition, marking a significant chapter in his journey as one of Europe’s most charismatic contemporary composers, bandleaders, and bassists. With "3 Elements," Høiby not only cements his legacy but also redefines the essence of the piano trio format for the modern era, making this album an essential milestone and a testament to his visionary approach to music.

Caedite Eos is thrilled to present another intense various artist EP for its forthcoming vinyl release,showcasing a talented lineup of Spanish artists.Kicking offthis EP is Hurtado with his track "No Surrender". With previous releases on Overstep,Body Theory, and Shiv (a label he co-runs with UVB), Hurtado brings his signature style, deliveringa relentless onslaught of heavy offbeat techno.Following suit is Neurite, making his debut on this EP with "Black Eyes".

As co-owner of Madrid'sunderground techno party "Crudo", Neurite brings a fresh perspective with breakbeat techno,weaving tension-filled atmospheres and lively percussions into his captivating track.

Returning to the label is SlugoS with "Self-Inflicted". Fresh from his recent release on SacredCourt, SlugoS, the label owner, presents an elegant hard techno gem designed to ignitedancefloors with its infectious groove.

Rounding up this EP is TKNS with "Cacharreo y Dinamita". A familiar face on Caedite Eos, TKNS, known for his previous work on the label and a recent remix for EKKA, delivers a breakbeattechno journey that steadily builds to a climax after the main break, showcasing his talent andcreativity as a dancefloor killer.

This EP encapsulates the essence of Caedite Eos - a celebration of cutting-edge techno withdiverse influences and uncompromising energy, destined to leave a lasting impression on technomusic enthusiasts worldwide.

After the success of "Miss The Rave" released last year on the Fresh Blood VA series, Onlynumbers is back on Taapion with a solo EP carefully crafted for the French imprint that will definitely make a statement in the artist's discography.

"Tools of Oppression / Rule by Deception" is the new full length album by The Hope Conspiracy. The album was engineered by Kurt Ballou and Zach Weeks at God City Studios. Artwork for the release was created by acclaimed artist Alexander Heir (Death/Traitors). This is true sonic violence aimed at political division, economic manipulation, war profiteering, media propaganda and other vile forms of global oppression. Air raid sirens wail as the foreboding "Those Who Gave Us Yesterday" and "The Prophets and Doom" explode forth like burning shrapnel. The hell ride continues with "A Struggle For Power" and "Live In Fear", two vicious blasts supercharged with malice and contempt. "Shock By Shock" and "Of A Dying Nation" introduce doom and gloom heaviness, grinding down the tempo to a mid-paced barrage. "Confusion/Chaos/Misery" picks up the pace, going scorched-earth policy on the sociopolitical nightmares that ensnare us all while "Broken Vessels" plows into overdrive about the opioid crisis and addiction as a whole. This leads to "The West Is Dead" a dystopian hook laden hardcore anthem, and epic closer "The Specter Looms"; An ominous soundtrack to the steady decline of our modern age. There is no question, The Hope Conspiracy is back to make a cold hard statement about existence in the end times.

Cult soca disco 12”, produced by Leston Paul and originally released in 1984 - now available in full vocal and instrumental versions for the first time in 40 years. Barbara Hernandez was working as a backing singer for Kool and the Gang in New York at the time the track was recorded, and the session featured their horn section as well as a who’s who of the Trinidad music scene for what would be Barbara’s only solo release. Suffering from poor distribution at the time of release, the 12” failed to make waves at the time but is now lovingly remastered and cut loud, a sure fire dancefloor filler

COBRA THE IMPALER is now a well-oiled killing machine, ready to take on anything that comes on its path. Taking strong cues from the New Wave of American Heavy Metal, COBRA THE IMPALER forges together larger-than-life grooves and spirited guitar leads with enchanting clean vocal harmonies and razor-sharp screams. Effortlessly flowing from breakneck riffs to tasteful melodic breaks, the band makes strong use of stylistic elements from groove, thrash, and classic heavy metal. Like many legendary metal acts from the 90s, COBRA THE IMPALER marries brute force with meticulous attention to detail, amounting to an unstoppable advance and an enticing experience diverse in punishment. 'Karma Collision' is an exercise in empowerment as well as a show of subtle restraint. Defiant to the end, COBRA THE IMPALER deliver a blatantly guitar-powered album full of huge riffs and equally huge choruses that instantly nestle themselves in your mind. Proving themselves as masters of melody as well as destruction, COBRA THE IMPALER hits hard while forcing an inescapable headlock, delivering salvation to those who worship, but certain punishment for those who dare to stray. For fans of Mastodon, Gojira, Baroness, Megadeth

In the lineage of their constant exploration of high-quality progressive stoner rock, MY DILIGENCE proudly stands as one of Belgium's most prominent Heavy Psych bands. The Brussels-based trio elegantly combines catchy harmonies and compelling riffs, captivating listeners over the years. Following the success of "The Matter, Form and Power," MY DILIGENCE makes a powerful return with their 4th album, "Death.Horses.Black." on Listenable Records. After an acclaimed European tour, including memorable performances at Hellfest 2023, Alcatraz Metal Festival (2022 and 2023), and DesertFest Antwerp in 2022, the band immersed themselves in the Sainte-Marthe studio in Paris throughout the winter, collaborating with renowned producer Francis Caste (Hangman's Chair, Regarde les Hommes Tomber...). Exploring darker themes, this album marks a turning point in the band's history. The long and profound compositions guide the listener through unexpected territories, creating an auditory experience akin to a lucid dream or trance, oscillating between hope and ultimate darkness. Get ready to dive into this captivating universe as MY DILIGENCE embarks on a tour starting late May, joining the Scottish band DVNE for dates in France and Switzerland, culminating on June 11 at the Orangerie du Botanique in Belgium. The band will enthusiastically continue with Summer festivals, including Mystic Festival (PL) and Motocultor (FR). Stay tuned, as MY DILIGENCE promises an unforgettable musical experience at every stage of their journey.

There's something spellbinding about Rhythm Rhyme Revolution’s seductive intensity and it’s all cleverly wrapped up in this rather sterling EP.

Summertime (nuacidfunk) slowly builds and changes tempo into a disco crescendo, in the style of Love Hangover, with Dan Lipman’s glorious jazz flute/sax weaving in and out of Gareth Tasker’s fantastic coral sitar riff that wouldn’t sound out of place on a Stylistics record.
The flipside - Sunshine Girl’s slinky Afro percussive groove builds pace as DJ Tabu merrily coos about making love in the sunshine and Barrie Sharpe’s vocal hooks chime in agreement:
bolstered by crisp guitar and Kenny Wellington’s jazzy mute trumpet darting around the sonic pool like a magnificent dragonfly. The arrangement has first class interplay and ensemble work too and the funky clavinet and bluesy electric piano really add to this slick
vibe.

Also on the flipside is the already established original version of Summertime from RRR LP #1 - which I can only compare to the Motown classics.

Sharpe is the master tease who builds a grand mood and positively revels in it. You will too,suffice to say, find this record is a real touch of class.

Emrys Baird (Blues & Soul)

Two years in the making, 25-year-old Angelica Garcia's album Cha Cha Palace is the result of an artist's need to SAY SOMETHING. The second song on the record, "Jícama" might only be a minute and 25 seconds in its entirety, but the message spans generations and is one that resonates deeply for Garcia with her Mexican and Salvadoran roots. Singing/shouting, "I see you, but you don't see me Jímaca, Jímaca, Guava Tree_I've been trying to tell ya, but you just don't see, like you I was born in this country," Garcia tells the reality for millions of Americans unapologetically and with passion.That feeling of being between places is something Garcia knows well having been raised between multigenerational, multicultural, homes with step-parents and half-siblings. Additionally, she made the journey from the West Coast to the East Coast and back again multiple times before finally settling down in Richmond, Virginia.She fondly recalls Mexican ranchera music always playing throughout her childhood. Ranchera was ingrained within the maternal side of her family with her Mother, Grandmother, Uncle & Aunt constantly singing the traditional music throughout the home of her Grandparents.Like Mitski, Lorde, Billie Eilish, and Rosalía, Garcia isn't afraid to tear pages out of her diary and express emotions that might be difficult and oftentimes daunting to share given today's social and political environment. Like her peers, she joins a new chapter of musicians who are connecting with their audiences on a level that lives outside the reaches of technology, trends, and social media, the daily experience of feeling torn between saying something and doing something, for being a voice and speaking with your voice, of being Latina while being American. And it's humanity and honesty that audiences are looking for and will find in spades throughout each note of Cha Cha Palace.

All work, all play - Fall of Porcupine tells an emotional story about a young doctor, who struggles to find his place in the small town of Porcupine. The game combines a vibrant, hand-painted world with the harsh reality of working in a flawed healthcare system, as the player accompanies Finley on his journey. While we do not guarantee that the game will make you cry, there's a high chance it might. Step into the town of Porcupine and take to the well-loved scrubs of Finley, the newest fledgling doctor to join the ranks of St. Ursula's hospital. As the seasons in the small-town change and life starts to stir, you'll soon realize that things aren't always what they seem: Not everyone is honest with themselves and others, the healthcare industry is not as illustrious as it seemed in medical school, and the work/life balance Finley strives toward might be impossible to achieve. Pinsel is perfectly capturing the slightly melancholic and laid-back atmosphere of the game in the songs of the soundtrack. Acoustic guitars and other analogue instruments paired with minimal electronic elements that are light but never random. It's almost as loveable as its characters. A game soundtrack highlight that might also be your perfect companion for walks on a sunny day in autumn.

An American soul vocal group that would go on to shape the sound of pop music much farther beyond their imaginations, The Ponderosa Twins Plus One featured two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and a lone album for Cleveland's Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, "Bound" has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal. Numero is proud to present the first official American repressing of the original 1971 release, with fresh remasters from the original analog tapes, two previously unissued bonus tracks, and a replica tip on sleeve, making this an album you're bound to fall in love with.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

True audiophile joy — now cut at 45 RPM 2LP for better tracking, exceptional bass!
Remastered by Kevin Gray at Cohearent Audio from the original master tapes
Plated and pressed on 180-gram vinyl at Quality Record Pressings!
Stoughton Printing gatefold tip-on heavyweight cardboard jacket


Praise for the 33 1/3 version of The Smoker You Drink, The Player You Get:

"(Side one) ends with the appropriately titled 'Happy Ways,' a Latin-tinged guitar-fest with lovely chunky bass lines that sounds absolutely glorious on this Analogue Productions pressing. The zing of steel string guitar almost sounds dead on the CD and tired on my ancient vinyl pressing, so this is clearly not one of those remasters that's based on an umpteenth generation copy of the tapes. ... You owe it to yourself to hear this album — and it will not sound any better than this spectacular pressing." — Recording = 8/10; Music 10/10 — Jason Kenedy, Hi-Fi+, Issue 148

"An outstanding new 180gm LP reissue from Analogue Productions, with improved sound thanks to a sparkling new remaster by Kevin Gray at Cohearent Audio, makes it clear that this 1973 release remains — with the possible exception of 1978's But Seriously, Folks . . . — the undisputed highlight of Walsh's solo career. ... Another week, another beautiful-sounding, wonderfully packaged reissue from Analogue Productions." Read the whole review here. — Robert Baird, May 2017

In between his stints with the James Gang and the Eagles, Joe Walsh tackled his second solo studio album The Smoker You Drink The Player You Get which became his most successful solo outing. The 1973 LP continued the heavy and light rock mix of tracks found on his previous release, Barnstorm.

Analogue Productions has done reissue justice to the album that AllMusic decries "features some of the most remembered Joe Walsh tracks, but it's not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone's standards."

To obtain the best sound possible we turned to Kevin Gray at Cohearent Audio to remaster this superb album from the original analogue tapes. Next we plated the lacquers and pressed LPs on 180-gram audiophile vinyl at the world's best LP maker, Quality Record Pressings. Top it all off with a deluxe Stoughton Printing gatefold tip-on jacket and you've got the makings for audiophile joy.

But would we stop there? Hardly. Now with our 45 RPM release, the best-sounding version of this rock music gem gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

This amazingly eclectic rock album has Joe's smash "Rocky Mountain Way," his hit "Meadows," plus "Bookends," "Wolf; Dreams" and more! Walsh's ability to swing wildly from one end of the rock scale to the other is unparalleled and makes for an album to suit many tastes.

This product is a Record Store Day exclusive title and is not available to pre-order.

To buy in-store: 8am, 20/04/2024 (Record Store Day).
To buy online: 8pm, 22/04/2024. (Subject to availability).
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Manhattan Fire is a collection of demos from prolific Brooklyn outfit The Men, revealing early versions of the tracks that would go on to make up their 2023 LP New York City – described by Pitchfork as “an unpretentious garage-punk racket … summoning the snottiest ghosts of the city’s punk past.”

Recorded in mono and with a drum machine by founding members Mark Perro and Nick Chiericozzi over lockdown in late 2020 – before being shelved for the full-band, live-to-tape affair of the final LP – Manhattan Fire shows a new side to those songs that's even more primitive and rough around the edges, as well as previously unheard tracks that never made it onto the album.

For fans of Duster, LSD and The Search for God, The Microphones. Double LP (NO BOOKS!) First official physical copy of fan-made compilation of alternate tracks and demos from cult phenomenon album Deathconsciousness. Freshly remastered. With the broader adoption of the internet around the turn of the century, how people would engage with and discover underground music would change forever. As a result of the new digital era, DIY was now worldwide, and no band embraced this new frontier better than Have A Nice Life. Formed in 2000 by duo Dan Barrett and Tim Macuga, the Middletown, CT-based pair would, throughout the 00s, self-release and share a number of demos and home recordings via early social media channels as well as establish its in-house label ENEMIES LIST HOME RECORDINGS. These first steps set in motion Have A Nice Life’s rise to renown as an icon of underground music in the internet age, culminating with the release of its pivotal 2008 debut album, Deathconsciousness. Through word of mouth and online discussion, Deathconsciousness became subject to viral praise thanks to its synthesis of bleak post-punk, lo-fi shoegaze, and carpets of hypnotic drone music. Eventually, this humble self-released project would attain the status of a post-internet cult classic, amassing Have A Nice Life a fervent online following that the band would interact with in kind. In an effort to thank and continue to engage with Have A Nice Life’s internet cult following, Barrett and Macuga would regularly share links to old demos, works in progress, and outtakes from the recording of Deathconsciousness. Over time, a group of fans would compile these demos into an unofficial release. Dubbed Voids, this fan-made compilation several alternate takes of tracks from Deathconsciousness, as well as a handful of early versions of songs that would appear on Have A Nice Life’s two following albums, The Unnatural World and Sea of Worry. While undeniably reminiscent of their final album version counterparts, the earlier versions of these tracks each feel distinct in a way that makes the moody, decidedly lo-fi aura of Voids an essential slice of the Have A Nice Life discography. Hungry for more from the enigmatic duo, fans swarmed around this compilation, accompanied by loud calls for it to receive a physical release. Seeing that demand and with the band’s blessing, a pair of fan-made tape pressings of Voids would be released via Music Ruins Lives, a DIY label run by Have A Nice Life superfan Thom Wasluck, also known for his band Planning for Burial. Between both instances of the tape swiftly selling out and the compilation’s long absence from streaming services, Voids has historically been an elusive release to track down, only available in the obscurest corners of the internet or physically on the secondary market at eye-wateringly high prices.
Over a decade since its initial, unofficial release in 2011, The Flenser is proud to reissue Have A Nice Life’s Voids for the first time ever in an official capacity in physical form. Originally released digitally in early 2023 and freshly remastered for the occasion, this reissue of the beloved compilation will receive its first-ever wide release on physical formats (CD/LP/Cassette). This release also marks the first time fan-favorite tracks from Voids “Sisyphus”, “I’m Doctor House”, and “Human Error” will be available on vinyl and CD. Like a symbolic passing of the torch, the physical versions of the 2023 Voids reissue come with a foreword essay written by Wasluck, the previous custodian of Voids during the Music Ruins Lives days.

Tuk Smith & The Restless Hearts is an American rock band from Nashville founded and fronted by former Biters leader Tuk Smith, originally from Atlanta, now living in Nashville. The band released their debut single "What Kinda Love" on January 10, 2020 and were also added as an opening act for The Stadium Tour with Def Leppard and Mötley Crüe on the same day. Then came the onset of Covid 19. “When the pandemic hit, it was like hitting the reset button on my music career” recalls Tuk, “everything got taken away…album campaign, stadium tour, record deal. The world was in lockdown, and the only way to escape was to throw myself into writing. My thoughts began exploring the past, and the inspiration for the songs just came in tidal waves.”
The new collection is a rock ‘n roll silver lining that came out of the solitude and reflection of the pandemic. Ballad Of A Misspent Youth is the new single (and subsequent album of the same name) released summer of 2022 on Tuk’s new record label MRG, through Virgin Music. Tuk explains, “I decided to make a rock and roll record for me and what I like because there was no label, there was no committee involved…just me and my stories. I wanted to create a setting and an authentic feeling about everything. I reunited with long-time friend Dan Dixon and recorded these songs in his garage studio, and there is a purity to the work that came from all the circumstances of that time.” Growing up as an outsider in rural Georgia, Tuk found solace in hardcore punk acts like Black Flag and The Exploited. From there, Smith branched out into exploring seventies New York bands like The Dead Boys and New York Dolls, which lead him across the sea where he embraced first-wave British acts like The Buzzcocks and the Clash. Smith wasn’t just a casual fan of these acts, he was obsessed with them and traced their lineage with fervent dedication. “I was always into the Clash growing up and Mick Jones’ favorite band was Mott The Hoople, so through the years I ended up developing a love of the first wave of British glam, power pop and things like that,” he explains. Soon Smith was forming his own acts, touring relentlessly and building a following with his high-energy live shows, including his tour of duty as lead singer for the Biters, who he fronted for nearly a decade. He offers “Then after being on the road for years, I had a reckoning about where I was at and the future ahead. …I realized the only way to achieve something meaningful was to be a good songwriter…that clicked. I went on a musical diet where I stripped the obscure stuff away, and I really started focusing on the greats. When I started clicking that it was just about the songs, things changed. I had already put my 10,000 hours in the van to play in the dive clubs, but then I put my 10,000 hours into figuring out how to write. I also started working with other songwriters. I humbled myself… it was an education, like going to school.” Tuk elaborates, “I wanted to kind of branch out musically and do different things, and I figured to go solo would be better. My manager actually suggested I call my new band “The Restless Hearts” and that's what he would call me all the time. It was the title of a Biters song that people loved and I’d seen a few restless hearts tattoos at our shows along the way… and so Tuk Smith & The Restless Hearts was born. I was in a period where I changed everything including the way I lived my daily life. I experimented with different ways to tap into positive/creative energy…it was an evolving overall process (and still is).” Tuk summarizes, “Things used to be about debauchery, and now they’re more about dedication. I mean, I was always driven, but I was sometimes focusing on the wrong things. Now I focus on the music and the craftsmanship of writing and producing and performing. “

A band who have justifiably been championed across the world, Tokyo’s Melt-Banana have been responsible for some of the most complex punk rock ever made … that far outshines ninety-nine percent of most other bands out there. The band once described their live show as “Shooting machine gun and laser beam, chaos in order.” And I think that pretty much sums them up. — Olli Siebelt, BBC No wave without the self-conscious pretension, avant garde composition compressed into one-minute-or-less bursts, urgency, intricate destruction, pure glorious abandon. Melt-Banana play the same way that Repulsion, Naked City, The Ruins, or The Boredoms all make you want to scream and dance and kill your neighbors. This is not music that we are conditioned to accept. This is you delirious with joy scraping your five senses off the floor. —Matthew Moyer, Ink19 Melt-Banana are in a league of their own. There are other extreme hardcore bands out there who are experimental and unique but Melt-Banana are more than that. They area giants amongst infants. Masters amongst pupils. Kings amongst serfs. Nobody can do what they do and nobody can adequately use words to describe them. —Jeb, Crass Menagerie

Upchuck are experiencing a moment. The Atlanta punk collective just came off multiple tour runs with their good friend Faye Webster. Their Ty Segall-produced second album Bite The Hand That Feeds, with all its buzzsaw guitars and high-speed rippers and headbanging sludge, arrived in October. Later this year, they’ll make appearances at multiple festivals including Coachella. In the midst of relentlessly barreling ahead, the band and their label Famous Class are taking a beat to revisit how they got here. After working with Segall on Bite the Hand That Feeds, the band floated the notion that they wished they could hear what their collaborator could do with the songs on their 2022 debut album Sense Yourself. Holed up in his studio over Christmas with COVID and nothing else to do, Ty Segall began toying with Sense Yourself, sifting through folders of unlabeled stems to find the best guitar parts, emboldening the drum sound, and bringing greater clarity to KT’s vocals, all while bolstering the urgency of the band’s overall attack. With Segall’s new mix, Upchuck’s intense and righteous debut now impossibly overflows with even more fuzz and fury. In Segall, they found a kindred spirit whose studio approach made sense for just how hard they wanted this music to hit. “When we first went to record with Ty for Bite the Hand That Feeds, Mikey and I walked into the guitar room and Ty said, ‘Don’t touch the EQs.’ We looked at the amp and everything was on 10 except the master volume,” Hoff said. Previously, the band had been encouraged to capture the unvarnished sound of the studio. They’d toured with Segall’s band Fuzz, so everybody had the same goal while recording together: Capture the electricity of their intense live set. The band’s shows have a reputation for coming unglued, and there’s no greater document of that than Sense Yourself’s iconic album artwork. With no text, it’s a candid photo of a moment from a show shot on film without editing: blood streaked across KT’s face as they shout into the mic. In the middle of their EP release show, KT was in the pit as a fan started crowd surfing inside a shopping cart. A loose piece of metal near a wheel caught the singer right near the eyebrow and blood was everywhere, an instant piece of iconography snapped by probably every camera phone in the room. When Hoff revisits the message of this first album and Upchuck’s first songs, he thinks back to the year before the band even started when he and KT were hanging out. “We were sitting around talking for eight hours like ‘fuck, that's fucked up, that's fucked up.’” Upchuck became a vehicle for these five people to process how fucked up everything it is—to digest these formative hours-long conversations and put them to bludgeoning, intense rock music. The music is also fun as hell, and that’s part of the point. “There's a lot we need to do as people and a lot of things we need to fix in society but also like come on man like have your fun, wild out, have your drink,” KT says. “But be on your shit at the same time. Check your folk.”