Cerca:meant

Keeping the faith and facing the future, Times Are Changing puts a full stop on pandemic talk for unstoppable indie-pop four-piece Lottery Winners, as the four-piece release the fizzing anthem into a newly optimistic world. The first single from their newly


announced, upcoming, second studio album, Something To Leave The House For, the band has penned the soundtrack to hugging old friends, the rebirth of live music and those summer festivals just around the around the corner.

For front man and songwriter, Thom Rylance, working through the darkness of Covid meant surviving Covid, tying the threads of an unravelling mental state into a new body of work now emerging as bright, arms-aloft bursts of positivity. His famed ‘note to self’, the emotive An Open Letter To Creatives and the band’s sensational, viral collaboration with Nickelback with the Rock Star Sea Shanty were just two moments of levity in a time dominated by the dark clouds forming overhead. Now he and the band are moving on and moving up.

“If something so bleak and harrowing can hit us all, totally out of the blue, and change our lives, then by definition that must mean that something beautiful can too.” says bassist and vocalist, Katie Lloyd (bass and vocals) as Lottery Winners start the next leg of their adventure with Times Are Changing, reflective, ready to party and no less ambitious than before.

Their mammoth, 14-track new album, Something To Leave The House For, follows their 2020, self-titled UK Album Chart Top 30 debut with a Fri 24 September 2021 release via Modern Sky UK, promises to document the tumultuous times and the path back from despair. In true Lottery Winners style, every truth and life lesson is dressed in glass-half-full, wildly optimistic, radio-friendly pop, hip-swinging beats and bittersweet tenderness.

This time you'll find the Wax's #plectrum with the vinyl; a little gadget to stimulate your musical fantasies. (only for the first 200 orders!)

Four years and ten releases later we can say that Apparel Wax -the vinyl-faced hero- has been able to always renew itself and its sound because, as our manifesto says, we try not to submit to any genre. We wanted every release to be the outcome of a long research through uncommon sounds and APLWAX010, yet again, is an unidentified sonic object picked up by our radar. The last one though! We didn't plan it, we just felt like the time has come -eventually- to close this beautiful chapter. More than one factor led us to take this decision: the progressive concern about the planet (therefore the impossibility to keep producing plastic bags and gadgets), the desire to leave at our peak and to invent something new are just two of them. The constant process behind the renewal of our sound -which we embraced ten years ago with the birth of Apparel Music- sometimes passes through hard choices and we need to feel again that sensation of 'void' in order to create something fresh, different, as we did when we started Apparel Wax. We won't drag our masked hero to a point of sonic stagnation. We'd like to send you all a big greeting and a heartfelt thanks for every second of your time spent listening to Apparel Wax, it literally meant the world to us. What was initially just a bold idea became a musical reference point for many people around the world, and we will be forever grateful to y'all because, without you, it would have never been possible. Finally, a huge thanks to all the artists involved in the project. They contributed with their art to a bigger cause, the biggest: music. YOU are the true masked heroes, you are Apparel Wax. As for us, we'll live on and our sound too. Our ideas, our passion and dedication for the one and only thing that really makes us happy will never die. Something new will always come on our end because that's our purpose, our philosophy. Manman, what a journey has been, now on to the next one!

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

Our third release comes from Feph.
4 tracks- Drifting grooves meet otherworldly atmospheres.
Catered to DJs and meant for the club.
Made in USA.

vinyl only

Since signing with Rhymesayers in 2015, Sa-Roc has continued to both invigorate and grow her fanbase with a string of singles, accompanied with powerful and visually enthralling music videos, including “Forever”, which is nearing 4 million views on YouTube. In that time, she has continued to cultivate and sharpen her skill sets, and now she is set to release her first album for the label.

Speaking on the meaning of the album’s title and inspiration, Sa-Roc shares, "The Sharecropper’s Daughter speaks to my father’s actual beginnings on a Virginia tobacco farm where his family sharecropped. The title is meant to signify that both my father’s and my upbringing, though so different, are linked by a shared history that informs the way I move through the world. Although his formative years were spent in the Jim Crow era of the south, where he suffered through poverty and racial oppression, and mine were shaped in the heart of DC, amidst the war on drugs and the effects of its fallout, the album finds points of connection in two very different yet tragically familiar stories of Blackness in America. It’s a sonic reflection of the things we inherit. About the emotional weight that we unknowingly bestow upon the next generation; the genetic transfer of both trauma and triumph that we, both donors and

Kamana is a multiformat release inspired by and channeling the culture and traditions of the Aeta, an indigenous group from the Zambales region in the Philippines. One of the oldest inhabitants of the region the Aetas are also some of the most fascinating and ancient nomadic and hunter gathering cultures. The release goes from the realms of the
real to the imaginary, from transcription to syncretism, from concrete to abstract. An (un)real Sonic Exorcism filled with Ancestral Frequencies, Haunted Ghosts and other animistic spirits roaming the Pinatubo forests.
The release features a series of materials released in different formats from the Field recording digital only release, an LP and CD release to a special 7inch vinyl featuring an Interview with a bat hunter.
“Kamana is a long due homage to the Aeta community that hosted me a few years back, fascinated by the endurance of these people and their connection to their land, devastated by the eruption of the Pinatubo volcano in 1991, they continued to go back to their ancestral lands surviving on basic agriculture and hunting bats and wild pigs. Living with them for weeks, I managed to capture some essential field recordings and sounds that form and com- pose the basis for this release, from the more reprocessed and interpreted LP release to the pure field recording documentation of the digital release. It is meant to be accessible to all and provide a window to the livelihoods of these unique communities. For this reason, this release serves as both an archival document and a syncretic one, trying to channel memories and feelings of living in these jungles whilst listening to their stories as well as witnessing their lifestyles.”
Carlos Casas, 2021

Oliver Torr is about to release his first full length solo album. The album features many moods and colours, with Oliver exploring the use of his voice and lyrics as a new form of his expression. Successfully mixing electronic avant-garde/experimental forms with pop-like harmonic structures is the main theme of the record.

The idea of recontextualisation and themes of observation are mainly inspired by the philosophical literature and ideas of John Berger, Marshall McLuhan, and many others was a driving force during the creation of the album. The lyrical and sound design content is mainly inspired by panic attacks and depression, and serves as a therapeutic tool to aid in personal psychological healing.

Tracks make use of creative sound design by utilising field recordings and various experimental instruments and sources of sound, such as the Radical Chip, designed by John Richards (one of Oliver's mentors) and Max Wainwright. Tracks like 'Deià' which create a chaotic sonic palette are the author's representation of his mind under the siege of an intense panic attack, experienced in the seaside town of the same name that is located on the island of Mallorca.

Oliver feels like the album has been writing itself for the past 5 years, and in the past few months it has decided to finally show its form. With the help of Aid Kid, who is mixing the album and providing additional production, Oliver has put together a 14-track rollercoaster record, with the help of some special guests. Guests on vocals include Chrysalism, BCAA's Bilej Kluk, and sci fi RnB newcomer LVCIFER. Other sonic collaborators include Sunnbrella (guitars on two tracks), Bastl Instruments' David Strobach (distorted samples in intro), Peter Kutin, and Radio Laude's DeSteffan and R.A. (distorted samples/vocal on one track).

The record's sonics are a combination of Oliver's conscious influences, including experimental music, classical avant-garde, shoegaze, IDM, EBM, electronica, hints of modern club music, as well as PC music influences.

Oliver Torr is known as a composer, music producer, performer and installation artist. Outside of his solo projects, he has worked with many prominent musicians and creative companies/film makers worldwide. He is the founder of XYZ project, a music label concentrating on electronic music and audiovisual art (xyzproject.bandcamp), and a member of the noise.kitchen crew (a music and synth shop run by Bastl Instruments in Prague). Oliver is also a part of the 2020 SHAPE Platform roster (shapeplatform.eu), and the 2021 Gravity Network roster (gravitynetwork).

Oliver releases the album prior to the release of his 'Trans Europe Postal Express' project (supported and arranged in collaboration with SHAPE Platform) and gallery exhibition at MeetFactory art space Prague, that will take place in March, and will further the sonic palette of the album.

The album's artwork is directed and designed by Kristyna Kulikova and photographed by Lukas Havlena (VICE, National Gallery of Prague).

The album's pre-release sees a teaser trailer shot and directed by Tereza Halamova and Filip Kettner that will be released 1st of February. A short movie music video with the same crew is scheduled a month after the album's digital release.

A remixed version with reworks from established European electronic musicians (including Peter Kutin, Fausto Mercier, Wim Dehaen, Natalie Plevakova, Evil Medved, NobodyListen, David Herzig, Ancestral Vision and Trauma), will be coming in the next few months after the release.

Get on Down is proud to present A Wolf in Sheep's Clothing, the debut album by Black Sheep, available for the first time ever as double vinyl release. On the initial release of this classic it was 'The Choice Is Yours' that blew the roof off with even the most of novice rap fans gravitating to the song's energy. The cut has gone on to be featured in a long list of films and commercials (including the KIA campaign with the hip hop hamsters). Singles like 'The Choice Is Yours' and 'Flavor of the Month' made a perfect landing strip for those to delve deeper into the duo's debut. Often humorous ('Strobelite Honey'), often serious ('Black with No N.V (No Vision)', Black Sheep were able to craft an album that displayed their witty sensibilities while also staying conscious in true Native Tongue form. From the moment the album starts with Prince Paul introducing the 'lowlifes of the family tree' you know you are in for something special....and different. Mista Lawnge's production is every bit as textured as fellow counter parts Tribe or De La, while standing out as being completely original and fresh. Tracks like 'Butt in the Meantime', 'Try Counting Sheep' and 'La Menage (Featuring Q Tip)' are great examples of the duo's original style - complex layered beats (everything from Jazz, Soul and Rock all meshed together perfectly) to compliment Dres' distinct voice and word play. With other standout album cuts like 'For Those That Slept' and 'To Who It May Concern' it seemed as if they had an endless bag of treats, each offering something different while preserving the groups style. Polar opposite to what other groups at the time were doing, Black Sheep hit a homerun with their debut that few hip hop acts would ever reach. VH1 called 'The Choice Is Yours' one of the Top 100 Hip Hop tracks of all time and with not one bad or filler track, this full album certainly ranks as one of the best hip hop releases of the 90s.

in winter 2016, taumel and the ensemble adapter met for several improvisational sessions to develop an evening of music in which the contrasts and boundaries between composition and improvisation, freedom and determination, chaos and structure were to blur or collide. the sessions focused on the development of a specific, sound-gestural musical language. in a way, each musician developed kind of a character on his instrument and its own specific soundgesture. we recorded these sessions and used them as a basis for "in pieces". "in pieces" consists of the remixes of these sessions, as well as additional studio material produced by taumel. "in pieces" can be understood as a sureal sound poem, an abstract sound story that wanders through the most different states - from greatest happiness to frenzy and madness. in the 2 mutating sound fields, the associative story revolves around the theme of linguistic inalienability and thus also around the theme of 'chaos and order'. this ambiguity, the attempt at beauty and its overturning into destruction and failure. attempts at writing, attempts at speaking, stammering, stuttering, screaming, constriction, drifting away, humming... in the mutation of states, heterogeneous sound events meet or are mixed to a new kind of soundmash between song, voices, melody, harmony, instruments, noise, beats, riffs, words, electronics and alienation. the action of the instrumentalists (the instrument playing) is on the same level as any other sound producing action or vocal expression as well as any electronic sound production and is always meant gesturally, performatively, as action, as acoustic dance. "volume one" is the first part of a musical context planned as a two-part work (in pieces - volume two). in two sound parts (side a, side b) "in pieces - volume one" is not a song cycle like our other series, e.g. TRAUM, but rather a musical 2-act, later altogether 4-act. here the overall form of the musical series is not divided into albums and songs, but into albums and their a+b sides, like act 1, 2, 3 and 4. perhaps, therefore, "in pieces" can also be heard as an acoustic theater, or as a radio play without words, or as a soundtrack without a film, or as a film without a picture, or simply as an order of changing sound events . "off the record" in "off the record" taumel meets other musicians and develops albums in collaboration. here different forms of musical interaction can be tried out. in this case of "in pieces" the collaboration with the ensemble adapter consisted in these sessions, which form the basic framework and skeleton for the whole album.

Downfall Recordings present the Infected Machinery EP with four brand new raw analogue acid tracks timed to hit the dancefloor as clubs reopen. As well as residents ConSequence and The Auditor they also bring tracks by two respected artists Jerome Hill and Fajack.

Release Me 2 is a new collection of ten previously unreleased studio performances from the legendary Barbra Streisand, spanning 1962 to 2014. The album showcases exquisite songs and sublime studio performances recorded over the course of Barbra's astounding career, but shelved for various reasons. In her notes for the album, Barbra says, "For me, the studio is a combination musical playground and laboratory…a private sanctuary, where the possibility of catching lightning in a bottle always exists. Whenever that kind of magic happens, it's extremely satisfying. Sometimes though, when the arrangement doesn't quite gel or the song no longer fits the tone of the album it was meant for, the tapes go into the vault for safekeeping. Working on this 2nd volume of Release Me has been a lovely walk down memory lane…a chance to revisit, and in some cases, add a finishing instrumental touch to songs that still resonate for me in meaningful ways.

Release Me 2 features songs penned by celebrated writers and tunesmiths including Burt Bacharach and Hal David, Barry Gibb, Randy Newman, Michel Legrand/Alan Bergman/Marilyn Bergman, Harold Arlen and "Yip" Harburg, Carole King, Steve Dorff, Paul Williams/Kenny Ascher, and Walter Afanasieff/John Bettis.

Widely recognized as an icon in multiple entertainment fields, Barbra Streisand has attained unprecedented achievements as a recording artist, actor, director, producer, screenwriter, author, songwriter and concert performer. Streisand has been awarded two Oscars, five Emmys, ten Grammys including the Legend Award and the Lifetime Achievement Award, a Tony Award, eleven Golden Globes including the Cecil B. DeMille Award, three Peabodys, and the Director's Guild Award for her concert special -- the only artist to receive honours in all of those areas.

The classic 1991 album remastered and expanded with rare and previously
unreleased tracks. Extensive liner notes by band biographer Keith Cameron.
A landmark of the grunge era.
By going back to basics with ‘Every Good Boy Deserves Fudge’, Mudhoney
flipped conventional wisdom. Not for the first time - or the last - they would be
vindicated. A month after release in July 1991, the album entered the UK
album chart at Number 34 (five weeks later, Nirvana’s ‘Nevermind’ entered
at 36) and went on to sell 75,000 copies worldwide. A more meaningful
measure of success, however, lay in its revitalisation of the band, casting a
touchstone for the future. The record is a major chapter in Mudhoney’s
ongoing story, the moral of which has to be: when in doubt, fudge it.
The album began at Music Source Studio, a large space equipped with a 24-
track mixing board - downright futuristic, compared to the 8-track setup that
birthed the band’s catalytic 1988 debut, ‘Touch Me I’m Sick’. The Music
Source session quickly turned into a false start when the results, in guitarist
Steve Turner’s words, “sounded a little too fancy, too clean.” Lesson learned,
the band went primitive and got to work at Conrad Uno’s 8-track setup at Egg
Studio. Named after the cartons pasted on the walls in an optimistic attempt
at sound-proofing, Egg boasted a 1960s vintage 8-track Spectra Sonics
recording console, originally built for Stax in Memphis.
So it was that, in the spring of 1991, Mudhoney made ‘Every Good Boy
Deserves Fudge’. The resulting album is a whirlwind of the band’s influences
at the time: the fierce ‘60s garage rock of their Pacific Northwest
predecessors The Sonics and The Lollipop Shoppe, the gnashing posthardcore of Drunks With Guns, the heavy guitar moods of Neil Young, the
lysergic workouts of Spacemen 3 and Hawkwind, the gloomy existentialism
of Zounds and the satirical ferocity of ‘80s hardcore punk. The quartet’s
special alchemy meant these fond homages never slid into pastiche.
Ultimately, ‘Every Good Boy Deserves Fudge’ epitomised the best of
Mudhoney: here was a band reconnecting with its purest instincts and, in the
process, reinventing itself.
This 30th Anniversary edition, remastered by Bob Weston at Chicago
Mastering Service, stands as testimony to the creative surge that drove them
in this period. The album sessions yielded a clutch of material that would
subsequently appear on B-sides, compilations, and split-singles. This edition
includes all those tracks and a slew of previously unreleased songs,
including the entire five-track Music Source session.

In 1979 as a 15-year-old Eddie Piller was perfectly placed to be at the epicentre of the Mod revival. An inquisitive passion
for music, a family connection to Mod royalty The Small Faces, and an attitude that saw him travelling his home city, then
the country and then the world to take in the sounds that were emerging. In the years since, Piller has been a legendary
figure within the music industry setting up and continuing to own the ground-breaking Acid Jazz label, signing multiplatinum artists such as Jamiroquai and The Brand New Heavies collaborating on compilations with Martin Freeman and as
an award winning broadcaster even setting up his own Totally Wired Radio station. In The Mod Revival he looks back at the
movement that set him on his way.
• Mod is a sixties youth movement original built on sharp clothes, American soul music and nights on the town, that has never
really died. The originals added young British groups to their likes and then moved on, but their influence echoed on
through the 1970s in Northern Soul clubs, and in the sixties influenced bands of the pub rock era. When punk arrived, it was
supposed to sweep away the past, but instead the Sex Pistols were covering the Small Faces. The Clash brought in Mod DJ
Guy Stevens to produce London’s Calling, The Buzzcocks sounded closer to the Hollies than The Ramones and in The Jam’s
Paul Weller there was a musical and sartorial nod to the past of The Who, The Beatles and pop art arrows.
• Weller had spent the 1970s becoming obsessed by mod and saw punk as having a similar youthful energy to the era he had
missed by being born a decade too late. For others Weller’s style proved an inspiration, and as the Jam broke through in late
1978, they saw a wave of bands follow in their wake, and they themselves influenced others to form their own groups. But
there were other things. In bleak late 70s Britain the glorious optimism of the 1960s looked bright and shiny, and as it was
only a decade or so in the past, it was easy to pick up original records, clothes and books for pennies, and as you bought
these you met other like-minded souls who did the same. For those a little too young for punk, it was a community of gigs,
scooters, clothes, bands and records, and for many it developed on through.
• Eddie never stopped being a mod and has a unique perspective having now lived through four decades of being intimately
involved in the music that has emerged from the mod scene. In this part two double vinyl edition (Part 1 and its CD
equivalent reached #14 in the UK compilations charts) Ed guides us through some of his favourite music from the scene. He
guides us through a plethora of bands whose influences include The Who, The Kinks and the Jam, to sixties soul and R&B,
those with an eye on psychedelia. The records have a vitality and a certain stylish swagger to them, that marks them out as
mod. In the deluxe booklet, Piller has written a 5000 word note describing what it meant to him and has granted access to
his own scrapbooksfrom his many years of gig-going from which pages and memorabilia are reproduced.
• Eddie Piller’s Mod Revival is a personal appraisal from the founder of The Modcast, on what the mod explosion of the late
70s and 80s means to him…

Countless incredible records were made in Kingston between 1968 and 1971 that has never been able to lose the stigma of being described as 'Skinhead Reggae' but in Jamaica the term never meant anything. However Bunny Lee's Aggro Sound's both at home and away.
They were tougher then tough ,rougher then rough ,kicked like a 'bovver' boot and were sharper then a razor cut trim.
Raw, pure and undiluted every time...some even troubled the UK national charts..
To say the man and his music dominated at the time would be a complete understatement.
'Striker' was everywhere...travelling between Kingston, where he opened his Agro Sounds record shop at 101 Orange Street and London where he set up his Unity label with the Palmer Brothers for the exclusive release of his productions and his Jackpot subsidiaries with both Trojan and Pama records.
Ubiquitous does not start to come into it.
We sincerely hope that this compilation helps to point you in the direction of some of the best music from this often overlooked period from one of the greatest producers EVER!
'The Aggro Man' himself Bunny Lee

American cellist prodigy Yo-Yo Ma recorded Sing Me Home with the Silk Road Ensemble, a musical collective with performers and composers from all over the world. The album features guest appearances by Grammy Award winning artists Toumani Diabaté, Gregory Porter, Lisa Fischer, Bill Frisell and many more.

Released in 2016, Sing Me Home was meant to open hearts, ears and minds during a time of tragedy and political turmoil. “All around the world, people constantly meet the unfamiliar through change,” Yo-Yo Ma said of the album. “Rapid or dramatic change can feel threatening, tempting us to build walls to defend against the unknown. At Silk Road we build bridges. In the face of change and difference, we find ways to integrate and synthesize, to forge relationships, and to create joy and meaning.”

Bringing together the cultural backgrounds of the musicians, Sing Me Home is a culturally conscious album, reflecting on modern globalisation and collaboration. From Macedonian folk to traditional music from Mali, and from Irish fiddle to Indian sitar: it all comes together wonderfully. Critics agreed, and the album went on to win the Grammy Award for Best World Music Album in 2017.

Clear Vinyl

IZIPHO SOUL are thrilled to announce our forthcoming 45!

Alabama born, Mississippi raised and Louisiana transplanted native, Arthur Foy was a must see entertainer with his own band and show. In 1980 he recorded the absolute masterpiece: ‘Love Dreams’. Rich soulful vocals, expert instrumentation, production and ‘never enough Rhodes’ are everything that a gifted ear craves for.

The original MCS 45 is owned by only a select bunch of DJs and discerning collectors; a proven rarity with only seven copies documented on Popsike.

On the flip we present the southern strutter - ‘Love Storm’ - a song that builds as the title suggests. Co-produced and written with the legendary Carl Marshall adds to the credentials and charm. Sadly Arthur passed away in 2018, his music and performing meant everything to him; we are therefore proud to play our part in his musical legacy and dedicate this record to his memory.

Rock ‘n’ roll is often hard to define, or even to find, in these
fractured musical times. But to paraphrase an old saying,
you know it when you hear it. And you always hear it with
The Wallflowers. For the past 30 years, the Jakob Dylanled act has stood as one of rock’s most dynamic and
purposeful bands - a unit dedicated to and continually
honing a sound that meshes timeless songwriting and
storytelling with a hard-hitting and decidedly modern
musical attack.
That signature style has been present through the
decades, baked into the grooves of smash hits like 1996’s
‘Bringing Down the Horse’ as well as more recent and
exploratory fare like 2012’s ‘Glad All Over’.
But while it’s been nine long years since we’ve heard from
the group with whom he first made his mark, The
Wallflowers are silent no more. And Dylan always knew
they’d return. “The Wallflowers is much of my life’s work,”
he says simply. That life’s work continues with ‘Exit
Wounds’, the brand-new Wallflowers studio offering. The
collection marks the first new Wallflowers material since
‘Glad All Over’.
‘Exit Wounds’ is an ode to people - individual and
collective - that have, to put it mildly, been through some
stuff. “I think everybody - no matter what side of the aisle
you’re on - wherever we’re going to next, we’re all taking a
lot of exit wounds with us,” Dylan says. “Nobody is the
same as they were four years ago. That, to me, is what
‘Exit Wounds’ signifies. And it’s not meant to be negative at
all. It just means that wherever you’re headed, even if it’s
to a better place, you leave people and things behind, and
you think about those people and those things and you
carry them with you. Those are your exit wounds. And right
now, we’re all swimming in them.”

(gatefold 2LP with spot gloss finishing) Regal's debut album! His staunch productions have garnered support from techno's well-established vanguard, including noted collaborations, projects and remixes with Amelie Lens, Hadone, Nina Kraviz, Ellen Allien, Emmanuel Top and Len Faki. "Remember Why You Started is meant to be a message for everyone, including myself, to look back to your roots -where anything you do is influenced by nothing but passion" -Regal

Limited coloured marbled vinyl edition of this album
Spencer Davis was born in Wales in 1939. He studied languages and spoke fluent German, French and
Spanish. This was one of the reasons why he was later called „Professor“ in music circles. While studying
in Birmingham, he began performing as a musician and was together with Christine Perfect, who later
became a world star with Fleetwood Mac. Together with Steve and Muff Winwood and Pete York, he
formed his first Spencer Davis Group, with which he had numerous hits in Europe and the United States.
At the end of the 1960s, the four musical geniuses parted ways and each went his own way. Spencer
Davis continued as a solo artist, founded several new bands, including other Spencer Davis Groups with
different lineups, reworked old and new songs and released numerous other records. In the meantime, he
taught at the University of California. He also hosted a talk show and was in the management of Island
Records. He collaborated with Bob Marley, Robert Palmer and Eddie and the Hot Rods, and also
promoted the solo career of former Spencer Davis Group member Steve Winwood. On October 19, 2020,
Spencer Davis died of pneumonia in Los Angeles at the age of 81.

I attended a trade fair in Rio de Janeiro, Brazil. In this show, we met producers, label and festival managers. It is a privileged moment when it is possible to learn about new trends, new musical forms, emerging groups. The timing of the meal is undoubtedly the most important. We take the time to introduce ourselves and discover each other. When my turn arrived, I took out my little map to locate the town of Sète on the map of France. There, an American promoter exclaimed "Yeah! You live in this beautiful city. Where there is this incredible music. ” I admit that at the time I didn’t quite understand what he meant but flattered by his remark I told him yes. Later, I realized that he was talking about gypsy music that made the whole world dream.



When my friend shared this anecdote to me, it resonated deeply with me. Indeed, for us, people of the south of France, this was nothing exceptional. Indeed, every day you could meet in the street a gypsy musician performing a rumba, another declaiming a fandango or another who liked to paraphrase the maestro Django. It is part of our daily environment, but it is indeed a peculiarity of this region. The territory of the Mediterranean arc, from Arles to Perpignan, is indeed the cradle of gypsy music in France. In addition, we must underline the major influence of the Gypsy artists of Catalonia in the development of these different artistic forms. Through weddings and family reunions, the repertoires have shifted to be reinterpreted according to the identities specific to each and the territories of residence.



With this new collection, we wanted to show, to hear all the musical richness of Gypsy and Manouche artists populating the territory. From appropriation to recreation, they never stop bringing this music to life, re-enchanting it and offering it a resolutely modern reading, open to the world. In this first opus, devoted to the guitar, we will take the routes of latin music, flamenco or jazz alongside renowned artists and young talents. With "The sound of guitars", it is a first door open to the gypsy music of the Mediterranean Arc, that we will discover gradually through the "Mediteranean Gypsies roads" collection.