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Reel People Music breaks new ground, in more ways than one, with the launch of fresh compilation series Broken, Deep & Dope. A spin-off from acclaimed compilation brand Soulful, Deep & Dope – introduced back in 2015 – this new series sees the much-loved independent imprint pushing further at the boundaries of soulful music. All with that customary Reel People feeling.

Broken, Deep & Dope 2024, the series’ first instalment, unleashes 20 superlative examples of the soulful ‘bruk’ (broken beat), nu beat and nu jazz sound that has so innovatively informed contemporary dancefloors around the world since its inception back in late Nineties West London.

Bringing together classic cuts from the Reel People Music stable (including those by Daz-I-Kue, Monkey Brothers and Reel People) and key productions from some of its closest affiliates and biggest inspirations (such as Vikter Duplaix, Jazzanova, Bugz In The Attic, Kaidi Tatham, and Sean McCabe), this white-hot selection nips and tucks beautifully between stuttered Latin and Afro rhythms, deep house-edged jams and soaring flights of soul-jazz fancy.

Reel People Music is a label borne out of the soulful success of acclaimed collective Reel People but representing so much more. Launched in late 2009, the imprint has built a fiercely loyal international fanbase through its passion for artist development, musicianship, song-craft and authentic soulful groove.

Broken, Deep & Dope 2024, with its scattered yet compulsive beats, frisky basslines and acrobatic melodies, promises to further expand Reel People Music’s reputation for soulful depth and drama. Gathering old and new favourites from some of the world’s finest taste-making DJs and producers, this is another scorching, oh-soul essential hustle. End of.

A band with many chapters and an everchanging sound, Shudder To Think’s story began in 1986 in Glover Park, Washington DC. Bass player Stuart Hill and drummer Mike Russell had just recruited Chris Matthews to play guitar in their fledgling hardcore band Stüge (1984-86) when they suddenly found themselves in need of a new singer as well. Matthews suggested his friend Craig Wedren for the role. At the audition, Wedren’s style clashed with the style of the band’s previous singer, but the group all sensed that they might have stumbled into a “chocolate-inmy-peanut-butter” situation with intriguing potential. The group changed their name and headed into new territory. Side A of this LP is comprised of five songs from one of their first recording sessions together. The tracks chosen are songs that were only released on demo tapes, never to be re-recorded for future proper releases (this version of “Too Little, Too Late” did appear on the local punk compilation FR-5 in 1987). Side B consists of four tracks that were originally released as their first 7-inch release, the It Was Arson EP, a split release by Sammich/Dischord Records. Included at the end of side B is a version of “Take The Child” from this session (later re-recorded for their first album in 1988).

"Today! is Skip James’ second album, originally released in 1966. The album features James solo on all but one track, “How Long,” which includes Russ Savakus on bass. This 180-gram LP pressed at QRP includes an obi with notes by Scott Billington, a paper-wrapped jacket and (AAA) lacquers cut from the original master tapes by Matthew Lutthans at The Mastering Lab. AllMusic asserts, “wonderful vocals, superb guitar and a couple of tunes with tasty piano make this essential.” "

Having been based in Sussex, Philip moved to an old mill in France and never stopped writing. In 2014 he released his organic and honest solo debut album "I'm Not The Man I Used To Be". This was followed up by the critically acclaimed Mental Home Recordings is upon us. And now Philip Parfitt is set to release Dark light via Chicago/London/Paris based label Tip Top Recordings.

A significant milestone in his long accomplished career, Dark Light features 10 beautifully crafted pieces, including deep cuts 'I know I shouldn't but voices' and 'Dark light' the title track, give ample evidence of Philip's prowess as a wordsmith and musician, but also arranger and producer. Think Nick Drake and Captain Beefheart accidentally bumping into each other at a private viewing of Bright Sta
in Heaven, you won't be too far out of the crease. Philip is accompanied by a merry band of friends and luminaries including Alex Creepy Mojo, Amelie Fish, Lucie Robet (who also wrote title track Dark Light with Philip), Gilda Scouarnec, Rog Mogale (who also mastered the album), and Mark Refoy.

Dark Light is released on digital, CD, limited edition vinyl LP with 200 copies in black and 200 copies in dark purple to match the darkly beautiful artwork by Fernando Ruibal. Sleeve notes come from Matthew Spector within the included booklet with art from Joane Charlotte Senechal, photography by Sarah Baba, and design by Anna Mort.

Reality Hacked Part 1 sees the long-awaited vinyl release of the Matthew Dear, Perel and Jonny Rock remixes of Mirage. Taken from Lost Souls Of Saturn’s album ‘Reality’, released on their Holoverse Research Labs imprint, the original tracks saw Seth Troxler and Phil Moffa teaming with vocalist Adam Ohr (aka Addy Weitzman of Footprintz and The Beat Escape) for a cosmic synth-pop anthem.

The first 12” collects together the irresistible house remix from Perel (DFA / Kompakt), Jonny Rock’s chugging rework by Jonny Rock, and the gloriously twisted sprawling take from Matthew Dear.

When Man Man released its last album, "Dream Hunting in the Valley of the In Between," frontman Honus Honus (née Ryan Kattner) was in a state of unrest, oscillating between hope and cynicism. Perhaps fittingly, the album dropped during the pandemic, a time at which we could all relate. But, much like that bizarre turn of events, the ennui now seems so distant to Man Man. A revived sense of purpose washes through Man Man's new album, Carrot on Strings, radiating a mix of calm and confidence. Kattner always embodied a wild-man pied-piper vibe: his melodic, unhinged art-rock was at once intriguing and angsty. He was so alluringly creative that you went along with it, even if you were never sure where Man Man would take you. Carrot on Strings is no less inventive, but its ethos is radical in context of the band's two-decade career. "When I was younger, I would feed off of chaos. I would, you know, be upset and get drunk and smash chairs," Kattner explains. "Now those chairs are in my head: It's less of an outward projection, more of an interior monologue." The name "Carrot on Strings" came to Kattner while experimenting with the sound of someone munching on the vegetable, which you can hear in the cacophonous, similarly named song. It alludes to how success always seemed to dangle uncertainly before him, often just out of reach. But listen intently and you'll hear a more content Kattner finding an uneasy peace: "Life, as far as I've known it, has always been side hustles. Would it be great if I could go into a studio and record for a year without figuring out how to finance it? Yeah, it would be," he says. "But ultimately, I need to keep making music because art is an extension of my psyche. It's how I have learned to translate the palpitations of my heart. Simply put, I'd go insane without it." Growing up as a multiracial Hapa kid (half Filipino, half white) with a father in the U.S. Air Force, Kattner lived an itinerant childhood that included a few pivotal years in Germany, where he honed in on an appreciation for out there German cinema and art. His film obsessions and screenwriting background were crucial to Carrot on Strings. The album nods to the films of Werner Herzog and Rainer Werner Fassbinder as much as Italo-disco, Randy Newman, goth rock, and avant pop. (Kattner continues to work in the film industry with an acting role in the upcoming horror-comedy movie Destroy All Neighbors, for which he also served as composer; music supervising season 1 & 2 of the Interview With The Vampire AMC TV series; and shopping around, with director Matthew Goodhue, a script he wrote that he describes as a Wim Wenders road movie on acid.) In a bid to not overthink anything - his last album took seven years to make - he recorded the bulk of Carrot On Strings in five days in Mant Sounds studio in Glassell Park, Los Angeles with "very chill" producer Matt Schuessler, who had worked on Man Man's cover of Neu!'s "Super" for the seminal Krautrock band's box set. The resulting album represents a newfound sense of self for Kattner, who finds himself inspired and at peace both personally and artistically in ways that eluded him for most of his first 15 years playing music. When, on Carrot On Strings, you hear Kattner croon humbly, or sing of the tension between his outsize stage persona and the thoughtful, soulful guy he actually is, you're hearing Kattner liberate himself. "I first got into music to escape from myself," he says. "And now, it sounds so corny, but I have zero doubt that music ended up saving my life."

Originalmusik von den Chiptune-Rockern Anamanaguchi (Künstlerveröffentlichungen, Scott Pilgrim Videospiel, Capsule Silence XXIV) und Joseph Trapanese (Oblivion, Straight Outta Compton, No One Will Save You, The Greatest Showman, Skull Island, The Witcher, The Machine, Star Wars: Tales from the Galaxy's Edge, Stuber), mit Originalsongs von Anamanaguchi.

Scott Pilgrim Takes Off ist eine Anime-Streaming-Fernsehserie, die von Bryan Lee O'Malley und BenDavid Grabinski für Netflix entwickelt wurde. Die Serie basiert auf den Scott Pilgrim-Grafikromanen, die von O'Malley geschrieben und gezeichnet wurden, wobei die gesamte Hauptbesetzung aus der Verfilmung von 2010, Scott Pilgrim vs. the World, ihre Rollen für die englische Sprachbesetzung wieder aufnimmt, und dient sowohl als Fortsetzung als auch als Neuinterpretation des Grafikromans und des Films. Die Serie wurde am 17. November 2023 veröffentlicht und von der Öffentlichkeit
begeistert aufgenommen. Im Gegensatz zur Verfilmung, die weitgehend die gleiche Geschichte wie die Comics erzählte, weist "Takes Off" eine völlig eigenständige Handlung auf: Der titelgebende Scott Pilgrim verschwindet in der ersten Folge, und Ramona Flowers, sein Liebesinteresse, steht im Mittelpunkt, während sie versucht, herauszufinden, wer von den Darstellern für sein Verschwinden verantwortlich ist, während andere Figuren in der Geschichte an einer fiktiven Adaption von Scotts Leben arbeiten.

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.

Attention, aficionados of sublime pop music! Jim is, in fact, the older brother of pop singer Gerry Rafferty. Following two albums of sophisticated, melodic material with strong emphasis on vocal harmonies (not dissimilar to his brother"s work), Jim entered the 80s with no record deal, but good new tunes to shop. His original demos provided chart fodder for Frida (late of Abba), Clannad and Ian Matthews, but Jim"s versions outshine them all!"I See Red" was picked up by Phil Collins for Abba star Frida"s 1982 solo album.The flip-side of Jim"s "I See Red" has its own cover history - "Fear Strikes Out" first appeared on Ian Matthews" 1984 LP, Shook. Now, some 40 years later, the superior versions of these two Jim Rafferty originals arrive on a 7" single.

Late Night Tales and Bonobo were pretty much made for each other, it just took them a while to both realise it. Stepping forward into the compilers spotlight for the 33rd edition is Simon Green - aka Bonobo - a musician, producer and DJ perfectly suited to soundtrack an evening spent reclining to some parallel beats. Six albums to the good (most recently 'The North Borders' released earlier in 2013), Green has been on a winning streak since 2010's breakthrough 'Black Sands', which has now sold in excess of 160,000 copies. His music has aided the sales of Citroen cars and Olay creams, as well as soothing the puzzlement of Lost. Wrapped in delicately programmed drums, Green's music is at once both sombre and reassuring. If what comes out the other end is the music of Bonobo, then this is the fuel that keeps the engine running: soul, jazz, classical, pop, funk, leftfield, rock. Pianos and brass are abundantly present. Our ivories are warmed and tickled by the classic, Bill Evans, and new school, with Matthew Bourne's mournfully beautiful 'Juliet' and Dustin O'Halloran's 'An Ending A Beginning'. The brass section comes courtesy of Menehan Street Band's jazzy 'The Traitor', 'Flipside' by the Hypnotic Brass Band. Exclusives include YouTube sensation 'One Thing' by Peter & Kerry . Not only that, but there's Bonobo's special LNT cover version, a brilliant reading of Donovan's 'Get Thy Bearings', As the light dims, the unsettling sounds of Lapalux or maybe even Shlomo pierce the misty evening air, before giving way to the ethereal splendour of Eddi Front's 'Gigantic' or even Nina's paean to an imagined rural idyll 'Baltimore'. Amble down to the riverside. It could be the Great Ouse, as willows weep into the water; it could even be in Brooklyn overlooking the Lower East Side, as the sun slides down the sides of the skyscrapers. Take a notepad for inspiration. Maybe even a hipflask for a slug of something warm. Sit down and reflect and let those beautiful pianos skim the water's surface. Sometimes, you think, life is good. You can't play a symphony alone, it takes an orchestra to play it: Simon Green is your conductor.

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

Having been based in Sussex, Philip moved to an old mill in France and never stopped writing. In 2014 he released his organic and honest solo debut album "I'm Not The Man I Used To Be". This was followed up by the critically acclaimed Mental Home Recordings is upon us. And now Philip Parfitt is set to release Dark light via Chicago/London/Paris based label Tip Top Recordings.

A significant milestone in his long accomplished career, Dark Light features 10 beautifully crafted pieces, including deep cuts 'I know I shouldn't but voices' and 'Dark light' the title track, give ample evidence of Philip's prowess as a wordsmith and musician, but also arranger and producer. Think Nick Drake and Captain Beefheart accidentally bumping into each other at a private viewing of Bright Sta
in Heaven, you won't be too far out of the crease. Philip is accompanied by a merry band of friends and luminaries including Alex Creepy Mojo, Amelie Fish, Lucie Robet (who also wrote title track Dark Light with Philip), Gilda Scouarnec, Rog Mogale (who also mastered the album), and Mark Refoy.

Dark Light is released on digital, CD, limited edition vinyl LP with 200 copies in black and 200 copies in dark purple to match the darkly beautiful artwork by Fernando Ruibal. Sleeve notes come from Matthew Spector within the included booklet with art from Joane Charlotte Senechal, photography by Sarah Baba, and design by Anna Mort.

Sophie Lloyd is one of the most prolific guitarists on the world wide web, a trailblazer who is redefining the concept of a "bedroom" guitarist. A talented composer and accomplished musician, Sophie graduated from the prestigious BIMM in 2018 with a First Class Honours BMus in Popular Music Performance, honing and refining a talent she has nurtured since childhood. Since then, she has amassed the kind of following that even the guitar gods she grew up idolizing would be envious of, with a reach surpassing 3 million followers across her social channels, built through a steady stream of sharing her talent via guitar "shredleys", covers and her own original material. In addition to her own content, Sophie's talent and popularity has led to collaborations with brands such as Amazon Prime, Hard Rock Cafe, LiveNation and Harley Davidson, her own Guitar course on Truefire and a stunning performance at Paris Fashion Week for Redemption Brand Clothing. She has also released her own signature guitar, becoming the first female artist to do so for exclusive Californian Guitar maker KIESEL.

Most recently, Sophie could be seen shredding on stage as guitarist for multi-platinum recording artist Machine Gun Kelly on his recent Mainstream Sellout World Tour, which included sold out shows at legendary venues such Madison Square Garden in New York and Wembley Arena in London.

At 27 Years Old, Sophie Lloyd is just getting started, with the upcoming release of her debut solo album. The first few songs have already been released to rapturous reception, including "Fall Of Man (Feat. Matthew K Heafy)", "Do Or Die (Feat. Nathan James)", "Lost (Feat. Cole Rolland)" and "Runaway (Feat. Michael Starr)" with some more exciting names including Lzzy Hale (Halestorm), Chris Robertson (Black Stone Cherry), Tyler Connolly (Theory Of A Deadman) and Brandon Saller (Atreyu) all appearing.

With the buzz around her building, Priddy made her biggest splash with the 2021 release of her debut album, The Eternal Rocks Beneath. The 10 self- penned tracks are delivered with a maturity and depth that belie the fact that this is her first full length release. At times tender, at times carrying a darker edge, the stories she weaves are transporting. Not surprising then that Nick Drake, John Martyn, Tunng and Scott Matthews are amongst her many influences.

The album was recorded over a 2-year period at Rebellious Jukebox studios, a little basement studio hidden beneath inner-city Birmingham and presided over by masterful producer Simon Weaver. The ensemble cast of musicians, including a sweeping string section, occasionally cut through by raw electric guitar and drums, as well as Richard March (Pop Will Eat Itself) on double bass and Mikey Kenny on fiddle, enhance Priddy's command of melody and lyricism and provide the perfect backdrop for the feelings of nostalgia and timelessness that underpin the record. Many of the songs were written during Priddy's teenage years and early twenties and reference themes of childhood and distant memories.

The title, 'Eternal Rocks Beneath' reflects this is Priddy's first album; the culmination of her earlier life experiences and the bedrock for whatever follows next.

Es gibt nur einige wenige große Bands auf unserem Planeten, die man innerhalb weniger Sekunden unfehlbar identifizieren kann. Das einzigartige
Melodieverständnis, die geschmackvolle Instrumentierung, die richtige Balance aus Tiefe und Eingängigkeit, und dann natürlich diese charismatische
Stimme: Magnum sind Magnum!
Dies gilt auch für ihr neuestes Studioalbum ‚Here Comes The Rain‘, das am 12. Januar 2024 über Steamhammer/SPV als CD+DVD, Doppel-Vinyl-LP, als
Boxset und als Digitalversion veröffentlicht wird und einmal mehr beweist: Stimmungsvoller kann klassische Rockmusik kaum klingen.
Das fantasievolle Artwork stammt wie gewohnt aus der Feder des großartigen Rodney Matthews, der bereits für zahlreiche Magnum-Scheiben das
äußere Erscheinungsbild an die atmosphärisch dichte Musik der Band perfekt angeglichen hat.
Kein Zweifel: Mit ‚Here Comes The Rain‘ ist Magnum in der Besetzung Catley, Clarkin, Keyboarder Rick Benton, Bassist Dennis Ward und Schlagzeuger
Lee Morris erneut ein farbenfrohes, abwechslungsreiches und in jeder Sekunde inspiriertes neues Studioalbum gelungen.

Die mit dem GRAMMY® Award ausgezeichnete Rockband Cage The Elephant meldet sich mit ihrem kommenden sechsten Studioalbums Neon Pill (17. Mai, RCA Records) zurück. Mit dem neuen Album beschreitet die aus Kentucky stammende sechsköpfige Band - die Brüder Matthew Shultz Gesang und Brad Shultz Gitarre, Daniel Tichenor Bass, Jared Champion Schlagzeug, Nick Bockrath Leadgitarre und Matthan Minster [Gitarre, Keyboards, Backing Vocals] - musikalisches Neuland, wobei sie ihre kompromisslose Kreativität und ihre wilden, kathartischen Performances beibehalten. "Neon Pill", produziert von John Hill, entstand bei Sessions auf der Sonic Ranch in El Paso, im Electric Lady in New York, im Sound Emporium in Nashville, im Echo Mountain in North Carolina und in Hills eigenem Studio in Los Angeles

Accompanied by James Dewar on soulful vocal and bass duty and Reg Isidore underpinning their psychedelic blues sound with masterful drumming. Producer and former Procul Harum bandmate Matthew Fisher and Beatles engineer Geoff Emerick take on control room duties to help bring this stunning collection of songs together.

50 years later, these new mixes were overseen by Robin and include extended versions of the original album, newly mixed from the original master tapes. Cut at half-speed especially for this release, the album sounds better than ever. On the second disc, you can hear the trio amid a US tour supporting the album Live at The Record Plant, Sausalitoin May 1974available in its entirety for the first time and newly remastered from the original master tapes - the recording sounds as exhilarating as it would have for those in the room.

Bridge of Sighs (50th Anniversary Edition)- Newly mixed and remastered from the original tapes, cut at half- speed, pressed on 180g vinyl, and housed in a deluxe gatefold sleeve with testimonials and rare photograph.

Bridge Of Sighs by Robin Trower, released 17 May 2024, includes the following tracks: "In This Place ", "Too Rolling Stoned ", "Lady Love ", "Twice Removed from Yesterday " and more.

Die mit dem GRAMMY® Award ausgezeichnete Rockband Cage The Elephant meldet sich mit ihrem kommenden sechsten Studioalbums Neon Pill (17. Mai, RCA Records) zurück. Mit dem neuen Album beschreitet die aus Kentucky stammende sechsköpfige Band - die Brüder Matthew Shultz Gesang und Brad Shultz Gitarre, Daniel Tichenor Bass, Jared Champion Schlagzeug, Nick Bockrath Leadgitarre und Matthan Minster Gitarre, Keyboards, Backing Vocals - musikalisches Neuland, wobei sie ihre kompromisslose Kreativität und ihre wilden, kathartischen Performances beibehalten. "Neon Pill", produziert von John Hill, entstand bei Sessions auf der Sonic Ranch in El Paso, im Electric Lady in New York, im Sound Emporium in Nashville, im Echo Mountain in North Carolina und in Hills eigenem Studio in Los Angeles

Ollie Spalding and Jack Watts were friends first, and songwriting partners second, and this quality sets them apart. They're marked by that peculiar alchemy when two voices become one, a special sense of human connection wrought through harmony and emboldened with experience.

New album 'Redsetter' is their coming- of- age moment - gilded indie- folk with an optimistic sense of maturity, it dares to look towards the light. "We had literally no idea what was gonna happen!" Ollie gasps when looking back on the pair's self-titled debut album. Sculpted over the pandemic and released on Real Kind Records - the boutique Communion imprint chaired by Lucy Rose - the record displayed their core values. "The emotion has to be right," says Oliver.

"When we record songs, we want to stay true to the emotion - as though those songs had just been written seconds before they were recorded." The success of their debut brought fresh experiences - writing with Flyte, collaborating with everyone from Matthew & The Atlas and Victoria Canal to Talos and Olafur Arnalds - but also new challenges.

New LP 'Redsetter' takes them from their base in Brighton to a remote part of Texas (and back again); it's a record that's driven by a special kind of determination, dealing with intimate bonds, familial connections, and a quiet sense of renewal. Looking for perfect moments within our imperfect lives, Memorial have displayed extraordinary sense of character to drive themselves forwards. "We've let go of trying to make everything sound perfect," says Jack. "Being vulnerable in that way means that the end product is truer to you than it ever could be. There's a realness to it." Memorial have taken true ownership of their lives, pushing through enormous challenges to unlock new aspects of their artistry, and actualise their dreams.