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To celebrate two years of release and 1+ million plays, Vice beats’ releases “That Love” on 7” for the first time, featuring a remix from the super talented UK based producer Smoove. That Love is taken from the only UK based official J Dilla tribute album to date - “Dilla - The Timeless Tribute” which reworks Miguel Atwood Ferguson’s “Suite For Ma Dukes”. “That Love” is a detail focused and passion led reworking of Slum Village’s, Dilla produced classic “Fall In Love”. The limited vinyl release sees both a black original 45 version alongside a very limited red version. Having received worldwide praise from tastemakers and pioneers of the scene including DJ Premier and Chuck D of Public Enemy, this is much more than a tribute, it’s a special piece of Hip Hop history, raising money for the James Dewitt Yancey Foundation in Detroit (setup by Dilla’s family). Profits from this vinyl support young musicians to develop their skills and opportunities. With original artwork from Nina Fini, and mastering from Cosmic Trigger, this is a must have for the collection.

To celebrate two years of release and 1+ million plays, Vice beats’ releases “That Love” on 7” for the first time, featuring a remix from the super talented UK based producer Smoove. That Love is taken from the only UK based official J Dilla tribute album to date - “Dilla - The Timeless Tribute” which reworks Miguel Atwood Ferguson’s “Suite For Ma Dukes”. “That Love” is a detail focused and passion led reworking of Slum Village’s, Dilla produced classic “Fall In Love”. The limited vinyl release sees both a black original 45 version alongside a very limited red version. Having received worldwide praise from tastemakers and pioneers of the scene including DJ Premier and Chuck D of Public Enemy, this is much more than a tribute, it’s a special piece of Hip Hop history, raising money for the James Dewitt Yancey Foundation in Detroit (setup by Dilla’s family). Profits from this vinyl support young musicians to develop their skills and opportunities. With original artwork from Nina Fini, and mastering from Cosmic Trigger, this is a must have for the collection.

"Escapism" is the second album produced by Piotr Rajski also known as Pepe.. Once again, he offered us music that is hard to close in one genre and is best described by the artist himself:
At the time of creating this album, the world was absolutely dominated by the pandemic turning our lives upside down. Writing new music has became a way to escape from disturbing reality.

According to Paweł Bartnik who also mixed and mastered my first album "Afterimages", the second one is more colourful and vivid. I think he described well the idea I had in mind while recording the new tracks. I wanted them to stay in that dreamy tone which can't be referred to only one genre.

The record was pressed on 180g vinyl.

Limited version was made in 100 copies - each vinyl record has a different splatter color! "Very Limited Surprise Edition"

I found "Escapism" a great opportunity to combine my UK inspirations ("Vanity Fair", "WQRWY") and rap fascinations from Money Sex Records or Tartelet Records ("Realizm Magiczny"). While working on the album my biggest inspirations were i.a. Madlib, D'Angelo, Samiyam, Ras G, Jai Paul and Overmono.
I'm extremely happy I could create some of the songs with such talented people as Moo Latte, Kasia Siepka from Byty, Paulina Przybysz, Immortal Onion, Baasch and Wuja HZG. Everyone's unique personality enriched the sound and compositions on the album.

The cover was designed by Beata Śliwińska "Barrakuz" and it's based on the summer photo taken by Kuba Olachowski. It's worth mentioning that it was created using analog collage technique.

And where did the title come from?
The songs on the album are for me the way to escape from the pandemic and explore new musical areas. I just wanted to forget about all the laws, quarantines and restrictions. Imagination turned out to be the perfect cure for this.

When dubwise music really started to come into its own in the early to mid 70s, it made overnight stars of backroom boys who had hitherto worked behind a mixing desk to serve those who were beginning to hoist reggae to an international stardom that it had long deserved, but that it had only achieved on short and non-sustained bursts until Chris Blackwell decided to throw a lot of promotion and money at the work of Bob Marley and his fellow Wailers in 1972. Of those men, there was no bigger star than the late Osbourne Ruddock, the great King Tubby’s and the man who, from a tiny home-made studio in the Waterhouse district of Kingston, Jamaica, did more than most to reposition the boundaries that production and mixing of Jamaican recordings.

The first British reggae sub-genre to achieve ‘outernational’ success and influence the music of Jamaica, lovers rock was a dominating force in the UK scene, from the mid-Seventies through to the close of the Eighties.

Developed largely as a counterpoint to the more militant style of roots reggae, the romantically-themed genre was heavily influenced by the styles of US R&B and the predominantly soulful Jamaican rock steady sound of the Sixties.

Despite the style achieving mainstream success with a number of major UK chart hits, lovers rock received scant attention in the mainstream media until the screening of Steve’s McQueen’s award-winning 2020 BBC TV series, “Small Axe”, the highlight of which was an aptly titled episode that paid tribute to the style and its impact upon British culture.

Since then, interest in the genre has continued to grow internationally and reflecting this trend comes this handsomely packaged album which is presented in 2 physical formats – 2x LP and 3CD.

Comprising the most popular and influential recordings in the style, the collection includes works by such legendary British performers as Janet Kay, Carroll Thompson and Louisa Mark, alongside established Jamaican reggae royalty, notably Gregory Isaacs, Dennis Brown, John Holt and Sugar Minott.

With its focus firmly upon the best-loved romantic reggae sounds of the Seventies and Eighties (whilst the 3CD set also digs deep into the archive), this essential collection of dancefloor favourites provides the most authentic representation of lovers rock sounds yet to see issue.

Repressed!

raps by Talib Kweli / production by Madlib

Mit seinem neuen Album „Glücklich Unzufrieden“ schlägt Bozza einen Bogen von seinem Karrierebeginn bis ins Jetzt. Er nimmt seine Hörer mit auf seine ganz eigene emotionale Reise, indem er auch den Kampf
mit den inneren Dämonen über all die Jahre thematisiert. „Es fühlt sich an, als würde mit jedem Song eine riesengroße Last von meinen Schultern fallen. Ich musste mir ein letztes Mal das Leid von der Seele
schreiben“. Dabei holte er sich großartige Feature Gäste wie Sido, Bausa, Clueso, Montez, Selmon, Azet und auch Gini an Board. Gänsehaut garantiert.

Bestellt euch jetzt die Vinyl zu „Glücklich Unzufrieden“ vor.

BLACK BOMBERS, Birmingham's rock 'n Roll veterans whose primal racket contains elements of both proto and post punk, drop a new 7"on Friday, April 1st - on Easy Action Records. All Fools' Day 2022 seems the perfect time to release a track about false promises and the fantasy of returning to fading Empires. The recording for the single was originally carried out during one of those brief respites from Lockdown in the Summer of 2020 and was then developed in the Soho studio of new Black Bomber guitarist Steve Crittall over the following few months. The 'B' side of the single features Black Bombers' cover of The Damned's 'You Take My Money' - the much maligned second album being something of a band favourite. Bass player Darren Birch played with Damned guitarist Brian James in a short-lived line-up of his James Gang band. This release comes as 'UN-SCENE!', Black Bombers' drummer Dave Twist's compilation album of Birmingham Post Punk, is receiving real acclaim and is already in short supply... The band have dates around the country in the coming weeks and play the DIE DAS DER benefit show for Ukraine on March 27th at the Hare & Hounds, Kings Heath Birmingham.

A new bombastic Italian Tribe record.

Release date delayed to the 29.04.22.

Here is a brandnew doublesider by the amazing Andy Cooper of Ugly Duckling and The Allergies fame. Both tracks are featured on his upcoming album "L.I.S.T.E.N.", to be released on UNIQUE RECORDS in late September.
"The Man" is co-produced by DJ Moneyshot of The Allergies.
Two sides of funky Hip Hop that you can not miss out on!

Ferocious JP / US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs & liner notes by Alan Cummings.

Following hot on the heels of the first, mid-sixties generation of Japanese free jazz players like Kaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa, etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist Kazutoki Umezu and multi-instrumentalist Yoriyuki Harada. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.

These experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name Seikatsu Kōjyō Iinkai (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the Toshinori Kondo Unit and Harada with the Tadashi Yoshida Quintet. In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.

Then, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like David Murray, Arthur Blythe, and Oliver Lake. He recalls making the rounds of the lofts every evening, checking out the performances, and getting the chance to sit in with many groups including Juma Sultan’s Aboriginal Music Society and trumpeter Ted Daniel’s orchestra.

Things were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20th at another loft, Sunrise Studios at 122 2nd Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along Ahmed Abdullah, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term Sun Ra sideman. William Parker, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along Rashid Sinan on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on Frank Lowe’s immortal Black Beings album and collaborated with Arthur Doyle, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.

Since they had managed to save some money from their day jobs, Umezu and Harada decided to set up a recording session with the same line-up on August 11 at Studio We, where there was a well-equipped studio on the third floor. Umezu recalls the session as follows, Of course, we recorded our performances in one take, with zero retakes as far as I remember. On all the tracks we recorded, we moved as one unit, sharp and fast. That was the nature of Lifestyle Improvement Committee, New York Branch.

Umezu and Harada would later become known for the elements of parody and entertainment that they brought to their music, a freewheeling blend of pastiche, humour and on-stage performativity that paralleled the approaches of the Art Ensemble, Sun Ra, and Holland’s ICP. But here, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate. When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air against Abdullah’s trumpet.

Building on his already impressive resume, DJ Kay Slay returns to set the streets ablaze with his latest offering, Accolades. Featuring the next installment in the highly-acclaimed posse cut series, Rolling Deep, DJ Kay Slay blesses listeners with the ultimate version, Rolling 110 Deep, containing over 40 minutes of pure bars from some of hip-hop royalty, including Sheek Louch, Styles P, Dave East, Crooked I, Black Thought, Raekwon, Ghostface Killah and many more. Other standouts include 72 Bar Assasin (feat. The Game), Extravagant Lifestyle (feat. Raekwon, Sheek Louch, Ghostface Killag & Tragedy Khadafi), & Harlem Block Money (feat. Dave East, Vado, Jim Jones, Shoota 93 & Talkit Trigga)

Wonderful, originally released in 1999 was the first studio album featuring the original Madness line-up since 1984’s Keep Moving.

Being released for the first time on vinyl (180gram heavyweight) the album includes the singles ‘Lovestruck’ and ‘Johnny The Horse’, as well as the fan favourite ‘Drip Fed Fred’, which features Ian Dury not long before he passed away.

This package includes exclusive liner notes by journalist Stevie Chick (MOJO, The Guardian & NME) including interviews with Lee ‘Kix’ Thompson, Chrissyboy Foreman and Mark Bedford, as well as an exclusive poem by Cathal Smyth (‘Chas Smash’).

Yet another all killer no filler album from Omar S!

Get inside the gambling den.
Das Wettbüro is the new music on candomblé that will make you want to never stop playing. Toggling between love infested disco and droner Krautrock, leaning into Kosmische and Late 80s House - it is a pleasure to be surprised as their vision unfolds. These men don’t play for free. And they always win. Now bet your Money on this record

Classic Los Angeles FUNK double-sider. An unreleased acetate version of "Booty Whip" can be found on a previous Tramp compilation. However, the original version is just as good and definitely deserves a re-release on 45. Here you have it, backed with the equally great "Money Tree".

Repressed for the first time in a while, note small price increase. Etta James historic live recording from 1963! On stellar Blue vinyl, with the original album artwork and including 3 bonus tracks. Best known for the lush 1961 rendition of the ballad “At Last” – a slow-dance staple at wedding celebrations everywhere, she is also celebrated for having recorded one of the best live albums of all time, “Rocks the House.” Recorded in 1963 at the New Era Club in Nashville, James is captured at her performance peak. The foundation for her reputation as a fiery no-holds-barred performer was firmly established in this recording. Blues, soul, jazz, R&B, and rock vocalist Etta James, needs no introduction. An icon from early rock’n’roll’s pantheon of divas, she has inspired 5 decades of listeners and fellow artists with her vocal stylings. From Janis Joplin to Beyonce, her expressive and guttural style has been imitated but never quite matched. Jackpot Records is honored to release this momentous record on stellar blue vinyl, with the original album artwork and including 3 bonus tracks which have only ever been released previously on CD. Her powerful version of “Something’s Got a Hold on Me” will shake you. Her impassioned version of “All I Could Do Is Cry,” will break you.

We're all unabashed fans of Steely Dan so we take Steely Dan covers seriously. Mainly "why bother"? You can't improve on perfection right? However, when we heard Deep Heat's scintillating version of "Do It Again" we changed our minds. A totally brilliant funkier version of Steely Dan's first-ever hit which stands loud and proud in re-interpreting this classic song into something much more appropriate for today's more sophisticated dance-floors.

Originally released on the tiny Detroit label, Cu-Wu, original copies soon ran out. There is currently just one available in the entire world for $1000 and that'll be gone in a blink. The smart money says hold on for a mint reissue on the original label.

A great socially-conscious flip too, the uptempo funky "She's A Junky (Who's To Blame)". All in all, this is a killer double-sider and will also appeal to Steely Dan collectors and enthusiasts across the board. Expect strong demand. I mean who wouldn't want this within their collection? Absolute banger. Both sides!

One of the most rewarding things about this business is when we get the chance to re-release some true works of art which were previously hindered by their lack of availability. Plus, you KNOW that we LOVE every Willie Tee record we come across anyway. This time we're delighted to make available another double-sided slice of New Orleans niceness.

"Concentrate" is Willie at his mellow best with the Gaturs on this incredible 1980 recording, which really highlights just how great he was. On the flip, is a brilliant piece of New Orleans Mellow Funk which matches the sound of Roy Ayers for pure quality. Original copies of this record are not currently available anywhere for any amount of money. That's how ridiculously rare the original Gatur copies are. We have a great track record with Willie Tee and long may it continue! One of the best double-siders you'll ever be likely to hear and an absolute gas to get to reissue. Spread the joy. Another biggy!

After blazing a trail with 2020's critically acclaimed Good Luck Seeker, The Waterboys waste no time in delivering again with the announcement of their brand new record All Souls Hill on Cooking Vinyl. First track 'The Liar' is a creeping, groove-laden masterpiece, taking a powerful, descriptive swipe at Trump and the lies and deceit that infest those in power. The video, featuring a haunting image by satirical collagist Cold War Steve, leaves nothing to the imagination and amplifies its subject matter in a dark, eerie fashion. "The Liar is a comment on recent and still-current events, and both the song and video speak for themselves." says frontman Mike Scott. "We were proud to work on this video with the brilliant Cold War Steve." All Souls Hill is nine tracks of Waterboys brilliance, all mixed by Scott himself. Announced off the back of the band's recent sold out UK tour and latest box set 'The Magnificent Seven: The Waterboys' Fisherman's Blues/Room To Roam Band, 1989-1990 ', All Souls Hill is current, on the money social commentary, but with an air of hope. "All Souls Hill is mysterious, otherworldly, tune-banging and emotional." comments Mike. "I made it with Waterboys old and new and my co-producer, brilliant sonic guru Simon Dine. Its nine songs tell stories, explore dreamscapes, and cast a cold but hopeful eye on the human drama."

After blazing a trail with 2020's critically acclaimed Good Luck Seeker, The Waterboys waste no time in delivering again with the announcement of their brand new record All Souls Hill on Cooking Vinyl. First track 'The Liar' is a creeping, groove-laden masterpiece, taking a powerful, descriptive swipe at Trump and the lies and deceit that infest those in power. The video, featuring a haunting image by satirical collagist Cold War Steve, leaves nothing to the imagination and amplifies its subject matter in a dark, eerie fashion. "The Liar is a comment on recent and still-current events, and both the song and video speak for themselves." says frontman Mike Scott. "We were proud to work on this video with the brilliant Cold War Steve." All Souls Hill is nine tracks of Waterboys brilliance, all mixed by Scott himself. Announced off the back of the band's recent sold out UK tour and latest box set 'The Magnificent Seven: The Waterboys' Fisherman's Blues/Room To Roam Band, 1989-1990 ', All Souls Hill is current, on the money social commentary, but with an air of hope. "All Souls Hill is mysterious, otherworldly, tune-banging and emotional." comments Mike. "I made it with Waterboys old and new and my co-producer, brilliant sonic guru Simon Dine. Its nine songs tell stories, explore dreamscapes, and cast a cold but hopeful eye on the human drama."

10 brand new recordings from the legendary Jamaican singer and longtime Massive Attack collaborator, Horace Andy, produced by Adrian Sherwood.

Midnight Rocker has been approached in a similar fashion to the late-career quality that Sherwood coaxed out of Lee "Scratch" Perry with the Rainford and Heavy Rain albums, assembling a crack team of players and spending many months perfecting performance, arrangements and mixing. The result is a remarkable suite of tracks that sparkle with superb musicianship, carefully crafted production and Horace’s beautiful vocals.

The material includes revisiting and updating a few classic Horace Andy songs such as “Mr. Bassie”, but the bulk of the tracks are brand new compositions with contemporary messages, such as “Watch Over Them” and “Materialist”. The pair have also versioned “Safe From Harm”, a much-loved early single by the group that Andy is most associated with – Massive Attack.

“On-U Sound are very proud to present a truly wonderful album with one of the all-time great singer-songwriters in the rich history of Jamaican music, Horace Andy. This is a true gold star performance, and I’m very proud of it.” Adrian Sherwood.

The California based Tito Jackson is supported on his debut Blues album 'Under Your Spell', now in 180 Gram, cream coloured limited quantity vinyl, by an array of superlative special guests, including George Benson, Joe Bonamassa, Marlon Jackson, Eddie Levert, Kenny Neal, Bobby Rush and Stevie Wonder, who all add their special talents to the proceedings

"Love One Another" is the perfect antidote for today's times of doubt and trepidation, as the vocals of Tito, along with Marlon Jackson, Bobby Rush and Kenny Neal soar above the musical bed of melodies that feature the sweet sound of Stevie Wonder's signature harmonica style.

Song-writing duo and Hall of Famers Kenny Gamble and Leon Huff, who penned worldwide hits for The Jacksons and the O'Jays, came out of retirement to write "All In The Family Blues" for Tito. The track features Hall Of Fame legend, Eddie Levert.

As a friend and admirer of BB King, Tito plays tribute in his cover of King's classic, "Rock Me Baby" honored with BB's daughter Claudette King joining in. Tito Jackson's innate abilities as a singer, songwriter, guitarist, producer and arranger shine through brilliantly, creating a spectacular record that is destined for airplay and rave reviews in a number of formats. Continuing on the path set for Jackson when he broke into the music business as a member of the legendary Jackson 5, Tito continues to grow as a musician and performer.

UK Independent Record Stores Only Tracks: Checkered Flag / Smash Up On Highway One / Stack My Money / Drip Drop / The Cat With 9 Wives / Turn You On, Turn Me On / Rockabilly Riot / Off Your Rocker / Who Cares? / Rockabilly Banjo

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70's and 80's. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

Produced by Moccio and recorded in solitude at his home studio, Lionheart continues the intensely intimate narrative begun on his acclaimed album Tales of Solace (released in 2020). “I created both these albums because I very much needed to, on a personal level,” says Moccio, who hails from Canada but lives in L.A.’s Laurel Canyon. “With Tales of Solace I was dealing with necessary cathartic changes in my life. However, this album feels much more positive, like a rebirth.” Written in the throes of quarantine, Lionheart channels that sense of renewal by way of finespun melodies that Moccio describes as introspective

Neue Farbauflage des begnadeten Horace Andy-Albums "Midnight Rocker" aus 2022 auf On-U Sound. Die streng limitierte Auflage wird hauptsächlich im Label-Webshop und in Japan angeboten, die Exemplare im europäischen Handel sind somit sehr begrenzt. Alle vorherigen Vinylauflagen sind ausverkauft.

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie" Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

Malik Hendricks has carved a place for himself in the New York City club scene with a string of carefully composed releases on musclecars’ Coloring Lessons imprint and his own Money Cat Records, each full of gems mined on the line of deep house and deep listening.

Malik continues this run with Blue Flame, his debut on NYC label Bliss Point. Blue Flame finds Malik in full control of his craft, offering an alchemy of warm, in-the-pocket house grooves, live instrumentation and sparse, soulful vocals that build masterfully toward the dancefloor catharsis we’re all after.

From Dreams To Dust, the latest studio album by The Felice Brothers was recorded in the fall of 2020 in an old one room church in Harlemville, NY - Produced by The Felice Brothers and mixed by Mike Mogis

The record ranges over a variety of topics and themes, including isolation, the world of dreams and delusions, environmental collapse, and the inward and outward chaos of modern life.