LA-based producer Real Bad Man and Michigan rapper Willie the Kid release their new collaborative album, Midnight, via the producer’s own Real Bad Man Records label. The album, which marks the producer’s second collaborative project of the year following Dear Psilocybin with ZelooperZ, includes guest appearances from UK rapper Sonnyjim, New York’s Lord Sko and frequent RBM collaborator Boldy James, who will be releasing his own Real Bad Man-produced album in May.
The album came together naturally for the pair, letting each new song inform the identity of the project as a whole. Speaking about how they identified that central theme of the album, Willie says, “I think where Adam and I agreed upon is that the stand out records were all themes for the night, late night drive, after hours dinners, shopping, private rooftop hotel suites, it’s a thinking album, a cruising album preferably enjoyed at night…midnight””
Midnight marks the early stages of what’s shaping up to be a prolific run of collaborations for Real Bad Man in 2025. His second album of the year builds off of the momentum he sparked last month with his first full-length album with ZelooperZ, Dear Psilocybin, which The FADER called “clear-eyed and focused in its own fantastical way”. Working as a duo with the dynamic lyricism of Willie the Kid after the psychedelic sounds of Dear Psilocybin, Real Bad Man returns to the essential underground beatmaking that he first emerged onto the scene with through his On High Alert series. His crackling, lo-fi production pairs perfectly with Willie’s gritty delivery, laying a foundation for the longtime lyrical stylist who has worked alongside some of the genre’s modern heroes including Nas, Lil Wayne, The Alchemist, Roc Marciano, Curren$y and more.
Listen to Midnight above, see below for more details on Midnight and stay tuned for more from Real Bad Man coming soon
Young Gun Silver Fox are the captains of AM Waves, setting sail towards an isle where melodies soak the shoreline and grooves sway like palm trees. Their route traces a natural progression fromWest End Coast, an album that cast Andy Platts (Young Gun) and Shawn Lee (Silver Fox) as musical virtuosos of SoCal-infused pop. AM Waves does more than duplicate the perfection of West End Coast. It improves it.
Recorded at The Shop in London and Roffey Hall in the English countryside, AM Waves burnishes the blend between the duo's modern aesthetic and their sumptuously crafted homage to '70s-styled pop, rock, and soul. "This music hits a certain spot for me personally that nothing else quite does," says Shawn, who produced the album amidst his projects for Saint Etienne, Shawn Lee's Ping Pong Orchestra, and several other acts. "It's real high-caliber music. It's easy and breezy to listen to but it's really hard to make. Every aspect is A game."
The A game behind AM Waves fuels 43 minutes of Young Gun Silver Fox in peak form. "AM Waves is much more instinctive," says Andy, whose penchant for writing irresistible hooks and melodies also shapes his role as lead singer and lyricist/composer for the band Mamas Gun. "It's more vivid. You can see the clarity to the colors of AM Waves whereas West End Coast is slightly more impressionist, as it were."
Originally issued as a single in September 2017, "Midnight in Richmond" is the anchor of AM Waves. "I hit one chord, which I'd never played before, and the song sort of wrote itself," notes Shawn. "It was intuitive. In many ways, the primary function of what I'm doing is trying to find that chord that opens a door and takes you someplace else. Those chords have magic." Andy embellishes the song's appeal by nimbly juxtaposing wistful emotions with a sun-kissed melody, his voice evoking richly drawn memories. The qualities that make "Midnight in Richmond" an instant classic abound throughout the album.
"Lenny" and "Take It or Leave It" spotlight Andy's versatility as a songwriter. The former was inspired by a dream he had where Lenny Kravitz owned a bar. "It was surreal," he says. "He was polishing the glasses and just serving me hit after hit." Like swimming through moonshine, Andy languorously savors every syllable in the song. "Take It or Leave It" is pure pop bliss. "That was one of those songs that fell out in half an hour," he says. "I had everything and it was done." Shawn adds, "It's such a perfect song in itself. When I listen to it, it's like you've created a record that already existed."
Young Gun Silver Fox introduce a five-piece horn section on "Underdog" that literally trumpets the song's protagonist. Shawn affectionately dubbed them the "Seaweed Horns" in honor of the Seawind Horns, an LA-based unit that recorded with powerhouses like Michael Jackson,Rufus & Chaka Khan,and Earth, Wind & Fire during the late-'70s. Andy explains, "The horns grab another hue of the west coast sound, which is the starting point, but it's also maybe the point where we're injecting a little bit more of ourselves and some outside colors into the familiar west coast palette."
A bounty of treasures course through AM Waves' ebb and flow. "Mojo Rising," which the duo penned with Rob Johnson, is a veritable retreat to paradise. "Sky-bound, heaven sent / Way above the clouds watching shootingstars descend," Andy sings, mirroring the music's celestial undertones. Sensuality contours the notes on "Just a Man," a song that basks in the allure of a woman who leaves "footprints on the water" while "Love Guarantee" is festooned with the Seaweed Horns. "I wanted to bring more of that R&B slickness into the mix," Shawn notes about the latter track. "We hadn't done a tune with that sort of groove." Similar to his work on "Underdog," Nichol Thomson's intricate horn arrangement on "LoveGuarantee"exemplifies another distinction between AM Waves and its predecessor.
"Caroline" occupies a special place on AM Waves, beyond spawning the album title. It tells the story of Radio Caroline, a pirate radio station that broadcast from an offshore vessel during the '60s and '70s. "They played the music that kids wanted to hear, whether it was the old stuff or cutting edge stuff," says Andy. "'Caroline' is about Radio Caroline's eventual capture." Complementing Andy Platts' deft wordplay, which draws parallels between radio airwaves and the station's literal home on the ocean, Shawn Lee layers nearly a dozen different parts on "Caroline," showcasing the vastness of his musicality. "I loved that track as soon as I heard it," Andy continues. "It's a beautiful fusion of me and Shawn."
The Seaweed Horns joinYoung Gun Silver Foxas they detour to the dance floor on "Kingston Boogie." Shawn explains the track's genesis, "I was thinking, what have we not done yet We definitely should get an AOR disco thing happening. I quite like disco. The beat is so metronomic that it allows you to be really sophisticated on top. 'Kingston Boogie' just laid itself out. I call it 'midnight disco.'" With a nod to "Lenny," Andy Platts sets "Kingston Boogie" back at Lenny's Bar, this time revealing a detail or two about its mysterious proprietor as he pours sweet wine and moonshine.
In a sense, AM Waves ends with the beginning. Even before there was Young Gun Silver Fox, there was "Lolita," the first song Andy Platts and Shawn Lee wrote together and a crowd-pleasing staple of the duo's live sets. The tale of a femme fatale who harbors a secret was recorded for West End Coast but instead furnished the B-side to "Long Way Back" as well as a bonus track on the North American edition of the album. Despite the song's checkered trajectory, its infectious chorus sparked the brighter, more buoyant orientation of AM Waves.
Like the moon pulling the tide, Young Gun Silver Fox are a magnet for good songs. "We're both so obsessed and constantly interested in music-making," says Andy. "We're both thinking about it all the time. When you know you have an accomplice with you that's the same as you, it's very liberating. Suddenly, worlds of color start to appear." Indeed, AM Waves is elemental in its power to induce pleasure. Dive right in.
Pat Kelly out of all the Jamaican singers was influenced most by the voice of American soul singer Sam Cooke.As were indeed many of the singers from that time,few however could carry out this daunting task as well as Pat Kelly.
His delivery was perfect and so was his ability to carry any song that came his way.
Pat Kelly (born 1949,Kingston,Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques,his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin.
Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 slot in Jamaica for the six weeks.
For this release we have focused on material that Mr.Kelly had recorded with legendary Jamaican prodcer Bunny'Striker'Lee.
A match made in heaven and one that produced some of their finest work.
Tracks such as 'One In a Million','One Man Stand','Man Of My Word','I Started a Joke'.. .
So sit back and you better get ready for an albums worth of great songs sung and delivered as only the great Pat Kelly could...
Respect Jah Floyd........
out of Stock
Last delivered 16 months ago available to reorder, subject to availability
JJ Cale's 'Live' album gets its very first vinyl edition. FIRST TIME ON VINYL incl.all influencial tracks.
To celebrate the release of the new album 'Stay Around', JJ Cale's 'Live' album gets its very first vinyl edition. Originally released in 1996, this live album features 14 classics including 'After Midnight', 'Cocaine' and 'Old Man'. All tracks were recorded across several different shows : Carnegie Hall (New York, 1996), The Philharmonic (Munich, 1994), Flynn Theater (Burlington, 1993), The Great American Music Hall (San Francisco, 1994), The Hammersmith Apollo (London, 1994), The Sommerville Theater (Sommerville, 1993) and Park West (Chicago, 1990). Double 180gr heavyweight vinyl with CD album included.
out of Stock
Last delivered 6 years ago available to reorder, subject to availability
Introducing a new label, Koko Music, founded in West London by a long time friend of ours. Their first release:
'Allegedly Coltrane's favourite singer, Andy Bey recorded as vocalist for Max Roach ('Members, Don't Git Weary'), Horace Silver ('Won't You Open Up Your Senses'), Gary Bartz ('Celestial Blues') and Stanley Clarke in the late sixties / early seventies. He released one solo album and then disappeared from view for 20 years, resurfacing in the nineties.
This 1998 album showcases his four-octave range, the intimacy of love songs and raw power of the blues on a mixture of standards ('Pretty Girl', 'Some Other Time'), Latin ('O Cantador', 'Drume Negrita'), modern (Nick Drake's 'River Man'), and a couple of original tunes. Available for the first time on vinyl, cut at 45rpm, it features Andy on vocals and on piano, with appearances from Gary Bartz and Geri Allen.'
The arrival of Marvin Parks on today's musical scene is a perfect addition to the renaissance of the Afro-American Jazz Crooner panorama, deeply rooted in the Black Music tradition. Having his roots in Gospel and in the '50s and '60s jazz singers by the likes of Nat King Cole, Johnny Hartman and Joe Williams, Marvin Parks yet remains by all means an artist of today. In his debut Marvin shapes his light baritone colors within the sound of a well-established group of musicians under the direction and production of Nicola Conte, giving a different light to well-known standards and some originals.
"Good Morning Midnight" is the second studio album of French MC Biga*Ranx. Driven by the unstoppable flow of the artist, this album drags us into his special universe navigating between Reggae Digital, Hip Hop and Bass Music. As he says so well, Biga*Ranx wanted to "invent his own music". This album has 20 surprising songs from the artistic melting pot of Biga*Ranx. The proof is with the title Cumbia "Buck A Shot" which transports us directly to Colombia, or "Bad To The Bone" with Reggae-Trap influences. However the Reggae soul is still present on the entire record, as evidenced by "Boogie Man Skank" or "Confession". For the composition he used different talented beat-makers like the English of Vibronics or the Danish producers of Maffi. The French scene is also well represented by Manudigital, Tom Fire, Atili Bandalero or Barbés.D. Biga*Ranx loves to sing life simply, always in a personal approach. He approaches the themes of his generation by adding a touch of positivism and fighting spirit, approaching the original message of reggae.
Seven years into its celebrated journey, Life and Death assembles its third and most adventurous compilation to date - Displaced Soundtracks. For the first instalment in a new series, DJ Tennis has given free rein to some of his most trusted contemporaries, enabling many of today's most respected dance music producers to display their hidden talents as composers. Gathering music from a long-aborted film, the collection stands as another bastion of Life and Death's perpetual evolution. Duncan Gray embraces dissonance, Black Merlin, Appleblim and Artefakt go interstellar and Fango channels post-punk squat music. Hades Rocket showcases the expertly-sequenced synth work that has graced Simian Mobile Disco's illustrious career, while Redshape revisits all the right sides of 80's Wave and Library music. Danny Daze and synth-savant KINK embrace non-standard tempi with great success, while Axel Boman delivers sitar-laced gospelhouse without a bass drum. Elsewhere, your favourite producer's favourite producer, Stimming, team's up with pianist Lambert and the pair learn to fly. Inspired and challenging, Life and Death ventures into their eighth year confidently, constantly evolving without compromise.
Nach ihrem ersten generationsübergreifenden Zusammenarbeit, "Late Night Endless" (2015), begeben sich die beiden Protagonisten zu spannenden, neuen Soundexkursionen in eine Vielzahl von Subgenres wie nervösem Funk, Industrial-Drone, Jungle-Rave, Cosmic (zu gesprochenen Weisheiten von Dub-Meister Lee "Scratch" Perry), furiosem Synth-Grime und trägem Breakbeat (im Cover von Ryuichi Sakamotos "Merry Christmas Mr. Lawrence"). Neben Lee Perry begrüssen Sherwood & Pinch auf "Man Vs. Sofa" weitere illustre Gäste wie Martin Duffy (Primal Scream), Taz (Dizzee Rascal) und Skip McDonald (Sugarhill Gang, Tackhead, Little Axe).
With the fire of chariots, these moments are passing us. Preserve me with your tears, come save me from the burning years. The Burning Years. An album by Jason Priest.
The Antoni Maiovvi-fronted Jason Priest returns with new album The Burning Years. On this latest effort, the band draws influence from 90s shoegaze, indie alternative, and Britpop. For fans of Slowdive, New Order, The Cure, and Smashing Pumpkins.
Midnight Mannequin Records is proud to present Jason Priest's The Burning Years on deluxe transparent orange vinyl, complete with insert and OBI strip.
Melissa Weikart and her piano have proceeded through life in step, from her early classical
training to the experimental practice that defines her work today, a blending of sounds and forms that has never been so clear—and so fully realized—as on her new album, Contact. Across twelve shifting and evocative tracks that examine the connective tissue binding us to ourselves and others, the Franco-American musician’s voice and piano navigate personal and emotional terrain with clarity and nuance, forging a rich dialogue between artist and instrument, artist and self, and artist and listener.
Winner of the 2022 Nancy Jazz Pulsations emerging artist award and the instrumentalist prize at the 2023 La Défense National Jazz Competition, Weikart has released two EPs and an album as a solo artist, and one EP and an album—Surprise and Secret—with her electronic duo Beatrice Melissa. A student of jazz and ’70s folk-pop, and a keen lover of improvisation since her time at the New England Conservatory in Boston, Weikart has always conjured the confessional candor of the singer- songwriter in her music, even as she dispenses her lyrics across rich, shifting, dreamlike tableaux.
On Contact, written and arranged entirely by Weikart (aside from “New angles”), she pushes her sound further than ever before. The album is animated by a pressing need for connection, observing what brings us together and what drives us apart, and the life-saving revelations that emerge along the way. The album’s opener, “Crash,” is a dreamy telephone-hour ode, a message in a bottle, to connections new and old. On the wistful “Mesurer le vent,” Weikart conjures Debussy or Ravel, layering contrasting sounds like an Impressionist painting. The title track begins as a showcase of Weikart’s frank lyricism, a splice-reel of missed connections and wasted time, then glides into a hazy, euphoric galaxy of pleas, circling around her thesis—“I wanted to make contact”—that ushers us into “The Intersection,” a song that recalls her the beginning of her career, when it was just Weikart and her keys. “Appétit.e” is built around a sample of her down-the-hall neighbor’s drumming—another subtle, affecting gesture toward proximity and connection—while pulsating synths reminiscent of Air lend the track an unsteady atmosphere. On the Carpenters-inspired “Expectations,” Weikart muses on the relationship patterns, universal and specific, that have always been a hallmark of her songwriting.
The psychedelic “L’amour de construit” is a slow-motion fall down the rabbit hole, as Weikart
considers the way her own emotions are captured and commodified by the confining ways we think about love. The interlude—“L’amour pt. 2”—finds her near the end of that trip, shouting into the void as a last-ditch effort to rescue herself from the fall. The drums near the end of the interlude warn us that there may be no cushion for, until she is saved, again, by the power of revelation, on the confident, resilient “Not Right”—on which a show-stopping, frenetic conversation between singer and piano is gracefully interrupted by a rush of transcendent strings, lifting her back up.
On solid ground anew, “New angles,” featuring Manu Delta, creates a percussion-less groove that relies on experimental synth sounds. The 11-o’clock stunner “Catching up”—composed in a church—meets the singer in a state of ecstatic confession, bringing her to the formative memory that propels “Bicycle,” the album’s closer. Younger, more wide-eyed, she reflects on her move from Boston to Strasbourg, those early days, when Weikart had no other companion than that loyal hunk of scrap metal that took her to the shores of her own soul. She seems to suggest, on “Bicycle,” that a backward-glance is not always troublesome, not always anxiety-producing, but can be grounding: a reminder of where we come from, so that we can keep moving forward.
Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.
Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.
"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.
Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."
Lower the drawbridge, raise the gates. Texas-based composer Graham Reynolds (A Scanner Darkly, Before Midnight, Hit Man) returns to the world of The Portcullis with a brand-new LP of music. This deluxe edition brings together the original album and The Portcullis Expansion Pack across two LPs, housed in a die-cut slipcase.
Following the original album’s release in May 2026, the Expansion Pack ventures deeper into a medieval world of knights and merchants, almoners and thieves. Percussive medieval textures, fretted guitars, brass fanfares, atmospheric strings and piano reshape dungeon synth into something vividly Reynolds’ own: an imagined soundtrack steeped in folklore, fantasy and adventure.
What began as an investigation into Reynolds’ family lineage, tracing his name back to Launceston Castle, has grown into a world extending beyond the record.
Released via Fire Records as part of the Weird Walk Record Cult, the deluxe edition arrives alongside an expanded dice game and a special Portcullis porter created with Skipton Brewing Company.
“One of the most unique and addictive albums of 2026 so far” - Loud and Quiet
“Of all the RPG-infused dungeon synth, medieval ambient records released this year, Graham Reynolds’ will be the finest.” - Loud And Quiet
“Ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” - The New York Times
“A work of great scope, subtlety, and powerful suggestion. (…) Prepare yourself for an immersive experience, full of color and personality.” - Time Out
Doppel-LP, 180g Vinyl. Pearl Flip Horizon. Gatefold Sleeve. BLACK SPACE RIDERS' achtes Studioalbum präsentiert sich als ein scheinender, eklektischer Bastard, der vor Spielfreude, Ideenreichtum und Liebe zum Detail sprüht. Aus dem Besten vieler Genres und unterschiedlicher Jahrzehnte formt die Band eine ganz eigene Klangwelt: psychedelisch, schwer, tanzbar, manchmal zart, manchmal hart, aber stets zutiefst atmosphärisch und drängend, fließend und zugänglich. Konzeptionell fungiert das achte Album als die Kartografie eines schleichenden Zerfalls. Es liefert die Protokolle einer Relaisstation am äußersten Rand - sei es in einer fernen Galaxis oder in den digitalen und sozialen Netzwerken unseres Hier und Jetzt.
16 scrap-rock sketches straight from the heart to the gut…
Maybe we can keep rock’n’roll alive for one more day?
Who knows? The Joe Glass experience is a telecastered-explosion of hooks and guitar charms
One G chord away from tearing a diamond-shaped hole in the stratosphere.
Originally Released as a Hallogallo Tape January 2026
Sharp Pins Bassists Strides out under his own banner
For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.
Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.
Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.
Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.
It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.
My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.
My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.
