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John R. Miller is a true hyphenate artist: singer-songwriter-picker.
Every song on his thrilling debut solo album, ‘Depreciated’, is lush with
intricate wordplay and haunting imagery, as well as being backed by a band
that is on fire.
One of his biggest long-time fans is roots music favourite Tyler Childers, who
says he’s “a well-travelled wordsmith mapping out the world he’s seen, three
chords at a time.” Miller is somehow able to transport us to a shadowy honkytonk and get existential all in the same line with his tightly written compositions. Miller’s own guitar-playing is on fine display here along with vocals that
evoke the white-waters of the Potomac River rumbling below the high ridges
of his native Shenandoah Valley.
‘Depreciated’ is a collection of eleven gems that take us to John R. Miller’s
home place even while exploring the way we can’t go home again, no matter
how much we might ache for it. On the album, Miller says he was eager to combine elements of country, blues, and rock to make his own sound. He wanted
‘Depreciated’ to conjure references to recently lost heroes like Prine, Walker,
and Shaver without sounding derivative.
Miller has certainly achieved his own sound here with an album that is almost
novelistic in its journey not only to the complicated relationship Miller has with
the Shenandoah Valley but also into the mind of someone going through transitions. “I wrote most of these songs after finding myself single and without a
band for the first time in a long while,” Miller says. “I stumbled to Nashville and
started to figure things out, so a lot of these have the feel of closing a chapter.”

Emotional Rescue and HMV Record Shop (Japan) team up to present six limited edition 7"s of DISCO REGGAE LOVERS music. Featuring Sugar Minnott, Dambala, One Blood, 101 Band, Red Cloud and here to start, for the first time ever as a single, Ernest Ranglin's, cover of The Dramatics R&B classic, In The Rain.

A defining guitarist and composer in the development of Jamaican music, Ranglin's career spanned mento to reggae, playing on the groundbreaking recording of My Boy Lollipop itself, before going on to work with the likes of the Skatalies, Jimmy Cliff and Bob Marley.

Moving to Florida in 1982, he teamed up with Noel Williams to mix the bass heavy sound the producer was famous for with Ranglin's unique playing. Featuring a who's who of the Miami scene including Bobby Caldwell, Timmy Thomas, Betty Wright and Williams himself, In The Rain continued the link between R&B and reggae to sweet perfection.

To accompany, for half this series, a modern producer offers their own remix. Here Nik Weston, DJ, promoter and owner of the respected Mukatsuku label, releasing afro, jazz dance and more and with a long standing association with Japan, presents here an instrumental dub - letting the groove roll and Ranglin's ubiquitous playing to shine."

Cromby debuts on Phantasy alongside vocalist Tee Amara with a luminous new single, ‘Qué Sientes’. An emergent anthem overflowing with the energy that has come to define the Belfast producer’s ascent as one of the most versatile talents in club culture, ‘Qué Sientes’ is contemporary electro brimming with character, skilfully remixed by Ecuadorian underground favourite, Nicola Cruz.

Raw in dancefloor intent, ‘Qué Sientes’ erupts with no hesitation atop Dance Mania-indebted drums, blending Tee Amara’s Spanish-language vocal performance with a seductive acid squelch. Written and recorded in Berlin during lockdown, ‘Qué Sientes’ is the meeting of two friends and lifelong dancefloor enthusiasts from across the world, fluid rave sensuality rendered ideal for Cromby’s already legendary closing sets at Panorama Bar, or any other high-voltage dancefloor.

Complementing the Latin flavour of Cromby’s original production, French-Ecuadorian cult favourite Nicola Cruz applies his precision percussion and further cosmological atmospheres to ‘Qué Sientes’. Adeeply trippy take, Cruz’s result is late-night house psychedelia rendered both mechanical and mystical.

Thomas Köner is one of the most influential modernist minimal composers. Alongside Wolfgang Voigt's "Gas" project, Köner has been centrally responsible for electronic music's fascination with depth and reduction. His signature sound is vast, seemingly endless, which at first seems homogenous and infinite, but once exposed to it, when our senses calibrate to the fine nuances of changes, we discover and immerse into abundance of textures, richness of modulations and almost infinite range of sonic titilations. Köner's work was inspired by his frequent travels in the Arctic, and listeners feel his music as a journey to mysterious worlds of the Arctic region. The experience of being exposed to the extreme cold, the hightening of our senses and ability to notice even the slightest changes in color, sound, light or density that creates this dangerously reductive environment, is like an immersion in the sonic world of this German artist, where masterfully crafted layers of sound open into colossal spaces, teeming with aural life, waiting to be discovered by those who venture into it. The titles of Köner's highly regarded albums from the 90's ever so often play with this affinity - Nunatak, Permafrost, Teimo - all reference to the world of the Artic region, just as his album Nuuk that points us to the capital of Greenland. Subdued and minimal at first glance, this album is brimming with low-end frequences, shadowy resonances and boreal ambience, but at the same time, constant fluctuation and vulnerability of sonic events, makes it very organic, human and almost comforting, like the tiny harbour existing in the sea of ice, it is named after.

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

While 1967's Velvet Underground & Nico was a part of Andy Warhol's global artistic vision, 1968's White Light/White Heat was free of all Warholian influence, so in a way it could be thought of as another debut album. Here the music was left to fester on its own, with no artistic visionary interfering or trying to create a soundtrack for his pop art, and the Velvets filled that void with an album that is an aural subway car full of drunkards, junkies and whores rumbling through the bowels of NYC with a one way ticket to oblivion. Translucent purple vinyl LP.

A limited edition of 500 copies on white vinyl. First ever reissue of Alternative TV's "Action Time Vision", compiled in 1980 and featuring the group's 7"es from 1977 to 1979. Including bonus track "You Bastard" and new liner notes by ATV singer Mark Perry, the founding editor of punk fanzine Sniffin' Glue.

What Mark Perry says:
"It wouldn't be an exaggeration to say that Punk turned my world upside down! In July 1976, after hearing and seeing the Ramones, I went from just another music fan, avid reader of the NME and Melody Maker, to become editor of punk's premier fanzine, Sniffin' Glue. It was almost an instant success and by December 1976, through our no nonsense approach, our position as the 'punk Bible' was assured. But it was never enough for me. As I saw the initial punk explosion subside into a succession of third-rate copycats, I wanted to have a go myself.

My first attempt at forming a band was in late '76. We called ourselves the 'New Beatles' and it ended after a couple of rehearsals. It wasn't until I met guitarist Alex Fergusson, a mate of Sounds writer Sandy Robertson, in early 1977, that I started putting together some more interesting ideas for a band. I worked on a bunch of lyrics and, pretty quickly, Alex had put tunes to them. Eventually calling ourselves Alternative TV, we had our first rehearsals at Throbbing Gristle's Industrial Studios in March '77.

That initial line-up was just me singing and Alex on guitar, with Genesis P-Orridge helping out on some bass and drums. We did ask Gen to join fulltime, but he decided against it and stuck with Throbbing Gristle. After more rehearsals, we played our first gig at the Nottingham Punk Festival in May 1977, joined by Mick Smith on bass and John Towe (ex-Generation X) on drums.

I started thinking about doing a record almost from the start because, by this time, I was running the Step Forward record label with Miles Copeland, who was also to become the band's manager. It seemed like a natural move to put out my own record, but it instead ended up on Deptford Fun City, another of Miles' labels. Before that actually happened, we made a slight detour by recording a demo for EMI. They didn't want to sign us, but we did end up with the tapes…"

This is one of the evergreen albums of 80’s style hair band rock that transcends the years and 2021 is the 30th anniversary of the release. evoXS is releasing Lean into It - The Singles 7” box set, which includes four 7” coloured vinyl singles with their European picture sleeves: ‘Just Take My Heart (edit)’, ‘Daddy, Brother, Lover, Little Boy (The Electric Drill Song)’, ‘To Be With You’, ‘Green Tinted Sixties Mind’, plus the bonus single ‘Strike Like Lightning’ from the movie Navy Seals, which has never previously been released on 7” vinyl.

Contains new specially prepared liner notes by Penguin Guide To Jazz’s writer Brian Morton and by Paris’ prestigious Jazz Magazine.
6 bonus tracks (Green Vinyl) “The question of whether Etta James became a pop singer, a jazz singer, or a blues singer needn’t detain you long. She was all of those, as At Last bears out, and more besides. James touched on gospel, doo-wop and rhythm’n’blues
with equal facility. “Dance With Me, Henry” was a hit, but renamed “The Wallflower” and covered by Georgia Gibbs. Because James had a composition credit, it made her some money, but she didn’t like to be bested. She made sure that the next time it would be her name on the label.“ Penguin Guide to Jazz “At Last!, her debut LP, made for the celebrated Chicago label Chess, certainly is one of her most memorable. It’s impossible to not be moved by the power of her voice, beginning with the opening notes of “Anything to Say You’re Mine”.
Every phrase, every word is attacked with an energy that commands respect. But beware, this young woman (she was only 22 at the time) could also take on the sweetest forms of a melancholy ballad, such as “Stormy Weather”, and manage to achieve tenderness. At Last! is one of the key soul music albums of the early 1960’s.” Jazz Magazine ETTA JAMES, lead vocals; The Riley Hampton Orchestra. Arranged and conducted by Riley Hampton. Recorded in Chicago, Illinois, 1960 and 1961. Original sessions produced by Phil and Leonard Chess.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca
Records to become the first Artist signed to the new Geffen Records label.
• Donna’s ‘80s close-out album was 1989’s “ANOTHER PLACE AND TIME”, which paired her with multihit making, multi-million-selling UK producers Stock Aitken Waterman.
• The album’s lead single ‘This Time I Know It’s For Real’ was an uplifting, club floorfiller and radiofriendly hit, peaking at #3 in the UK (#7 on the US Billboard Hot 100), giving Donna her highest
charting single for more than a decade.
• Four further singles were released from the album including the two Top 20 hits, ‘I Don’t Wanna Get
Hurt’ and ‘Love’s About To Change My Heart’, giving Donna back-to-back UK Top 10 hits for the first
time since 1977, as well as remixed versions of ‘When Love Takes Over You’ and ‘Breakaway’.
• “ANOTHER PLACE AND TIME” spent 28 weeks on the UK Artist Albums Chart.
• This special edition revisits the original album on 180g Red Colour vinyl.

A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson character,” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.

The finest and rarest chapter of EMANUELLE saga by the cult maestro Nico Fidenco and his loyal orchestra director Oscar Lindok (Giacomo Dell'Orso). Majestic original soundtrack of the sex thriller movie "EMANUELLE IN AMERICA" from 1977 directed by the legendary Joe D'Amato. Sexploitation cult and acclaimed director's third instalment of Black Emanuelle film series starring Dutch actress Laura Gemser. The deepest, intense and most thrilling volume of Black Emanuelle adventures with the best music cuts of the whole series. Spellbinding, breathtaking and wordless music with dreamy orchestral movements, unbelievable downtempo Funk and timeless beats, mental Afro-beat and dancing percussion, sweet Psychedelic guitars, subtle female chorus, heavy strings and orchestra, loungy sounds, driving funky drums and so on. Essential Italian OST masterpiece!

Factory Benelux presents an expanded double vinyl edition of Sex and Death, the 11th studio album by lauded Factory Records ensemble The Durutti Column. Originally released in 1994 on CD only, the album has now been re-mastered with 5 bonus tracks and appears on vinyl for the VERY FIRST TIME in a coloured vinyl edition limited to 1500 copies. The vinyl edition is housed in a gatefold sleeve . Disc 1 is pressed in blue vinyl, and disc 2 in silver. A 2xCD edition is also available (FBN 201 CD).

Previously only available as an ultra-rare USB drive release, Demon Records presents the first reissue of ‘Live At
The Hotel Utah Saloon’.
Recorded in 2007, the album captures an intimate solo performance by Black Francis at San Francisco’s historic Hotel Utah Saloon venue. Featuring renditions of songs from across the Black Francis / Frank Black catalogue including ‘Headache’, ‘I Heard Ramona Sing’, ‘All My Ghosts’ and ‘Wave Of Mutilation.
This reissue features a brand new remix of the complete show by Jason Carter and is pressed on two 140g red vinyl.

Toronto’s PACKS make music that’s like leafing through a diary entry of a time without visible movement, a subtle beauty that appears only when paying close attention. The band’s debut is a collection of songs that marry the loose but incisive jangle of early Pavement with the barbed sweetness of Sebadoh and the wideeyed wonder of the first Shins LP. Written in two different settings, between the city limits of Toronto where Link was living in 2019, and the Ottawa suburbs where she was quarantined with her parents in the spring 2020, both remain complementary emblems of selfreflection and wry observation of the mundanity of daily life. Packaging: LP Printed Inner Sleeve

Collection Of Classic LPs 180 Gram Vinyl + Bonus CD Digipack Included Inside. Chet Baker-Bill Evans: Alone Together (LP + CD) Bonus CD contains the complete album Alone Together aka CHET The Lyrical Trumpet of Chet Baker + 6 bonus tracks, completing all conjunct recordings between Chet Baker and Bill Evans. Including updated liner notes. 76:39 minutes playing time.

‘Royal’ is the long awaited second full-length album from Jesse Royal, an artist who has been helping to return Jamaica to its rightful place at the top of the worldwide reggae scene. Along with his peers and friends Protoje, Chronixx, Koffee, Kabaka Pyramid, Jah9, Lila Ike, and others, Jesse Royal has brought back many of the soulful elements of the genre, while remaining at the cutting edge of the moment. The record’s 3rd single, “Rich Forever,” a collab with dancehall superstar Vybz Kartel, perfectly illustrates this with a modern roots sound that surprises at every turn. Recent major hits, “LionOrder” (with Protoje) and “Natty Pablo,” are both included here, along with a host of new songs that are destined to become favorites in the Jamaican diaspora and well beyond. The album also features prominent guest turns by Stonebwoy, Kumar (formerly of GRAMMY winning band Raging Fyah), and rising stars Samory I, and Runkus.

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.

• Hailing from Heston in West London, The Bluetones (Scott Morriss – bass, Eds Chesters – drums, Adam Devlin –
guitars, and Mark Morriss – vocals) arrived on the scene in 1995 with their debut single “Are You Blue Or Are
You Blind?”. They followed this up with “Bluetonic” and then “Slight Return”, which reached # 2 on the UK
singles chart. The debut album “Expecting To Fly” was released in February 1996, and went straight to # 1.
• This 3 LP box set contains the original 1996 album, a 12 track LP of non-album A- and B-sides, as well as the
collection of pre-fame demos “The Early Garage Years”. The box also contains the 12 x 12 booklet from the
original limited edition sleeve, as well as a note by 6Music DJ Steve Lamacq.
• The three LPs are pressed on 180 gram blue vinyl.
























[x] e1. Are You Blue Or Are You Blind? [demo]
[y] e2. Talking To Clarry [demo]
[z] e3. Carnt Be Trusted [demo]
[xa] e4. Slight Return [limited edition UK/Japan 7" single]
[xb] e5. No. 11 (Bluetonic) [from the Fierce Panda "Return To Splendour" EP]
[xc] f1. The Fountainhead [demo]
[xd] f2. Time & Again [demo]
[xe] f3. Cut Some Rug [homemade 4-track recording]
[xf] f4. Talking To Clarry [homemade 8-track recording]
[xg] f5. Are You Blue Or Are You Blind? [homemade 8-track recording]

Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

An actor, musician, visual artist and unyielding creative spirit, Dreaming of You (1971-1976) gathers for the first time the best of Karen Black’s studio and demo recordings. Produced by Cass McCombs and meticulously restored from the original tapes, the collection’s fifteen tracks are a holistic depiction of Black’s dreamy, introspective and earnest musical identity. Cass McCombs and Karen Black became fast friends. They collaborated again on “Brighter!” from McCombs’ 2013 album Big Wheel and Others, and also wrote toward a solo album for Black. “She’d given me all of her poetry and I was trying to work them into some kind of meter that would work as songs,” McCombs says. They were able to record two of them before she died, “I Wish I Knew The Man I Thought You Were” and “Royal Jelly.” See EPK for full description

'softcore mourn' is the forthcoming second studio album by pizzagirl. “Pizzagirl is a revolving door. I like the idea of not knowing from which entrance I’ll emerge.” To date, the audio randomiser that is Liam Brown has spat out two EPs:‘An Extended Play‘ & ‘season 2’ (2018) and debut album: ‘first timer.’ (2019). While the extended players plaited together wonky 1-900-hotline-rock and ambient infomercial electronica into perfect pop pigtails, the LP styled the rest of the Pizzagirl mannequin to deliver a Frankenstein record of split-personality genre jumping. Liverpool based and self-producing out of his home studio (The Beatzzeria), the likes of The Guardian, The Sunday Times, Vice, Highsnobiety, NME, DIY and The Line of Best Fit confirm Pizzagirl’s status as a unique, quick-witted and vital energy. DJs are also lining up to call themselves fans, with the UK’s most trusted ears in Annie Mac and Huw Stephens at Radio 1 and Lauren Laverne, Shaun Keaveny, and Radcliffe & Maconie at BBC 6 Music all backing his tracks.

For nearly two straight years following the release of their critically acclaimed debut, Chasing Lights, Ida Mae lived on the road, crisscrossing the US from coast to coast as they performed hundreds of dates with everyone from Willie Nelson and Alison Krauss to Marcus King and Greta Van Fleet. And while those shows were certainly formative for the electrifying British duo, it was what happened in between — the countless hours spent driving through small towns and big cities, past sprawling suburbs and forgotten ghost towns, across rolling plains and snow-capped mountains — that truly laid the groundwork for the band’s transportive new album, Click Click Domino. Written primarily in the backseat of a moving car, the record embodies all the momentum and possibility of the great American unknown, offering up a series of cinematic vignettes full of hope and disappointment, promise and regret, connection and loneliness. The songs on Click Click Domino are raw and direct, fueled by an innovative mix of vintage instruments and modern electronics, and the performances are loose and exhilarating to match, drawing on early rock and roll, classic country, British folk, and 50’s soul to forge a sound that’s equal parts Alan Lomax field recording and 21st century garage band. Turpin and Jean produced the album themselves, recording primarily on their own in their adopted hometown of Nashville during the COVID-19 pandemic, and while the collection is certainly bolstered by appearances from high profile guests like Marcus King, Greta Van Fleet’s Jake Kiszka, and Ethan Johns, the heart and soul of the record remains Ida Mae’s intoxicating chemistry, which has never felt more vibrant, ambitious, or self-assured. Now married, Turpin and Jean first met a little over a decade ago while attending university in Bath. The pair bonded immediately over their love for the sounds of bygone eras, and they quickly earned rave reviews everywhere from the BBC to the NME with their raucous first group, Kill It Kid. Starting over fresh as a duo named for Sonny Terry and Brownie McGhee’s “Ida Mae,” the first song they ever harmonized on, Turpin and Jean relocated to Nashville in 2019 and released Chasing Lights to similarly widespread critical acclaim. Rolling Stone hailed the album’s “stomping swirl of blues and guitar-heavy Americana,” while The Independent lauded its “retro lustre” and “impressive experimentation,” and NPR’s Heavy Rotation called it “tightly drawn, harmonic and hypnotic.” The music helped the earn the duo a slew of support dates with the likes of Greta Van Fleet, The Marcus King Band, Blackberry Smoke, Josh Ritter, Rodrigo y Gabriela, and The Lone Bellow, as well as performances at Bonnaroo, the Telluride Blues & Brews Festival, the Philadelphia Folk Festival, Germany’s Reeperbahn Festival, and Switzerland’s Zermatt Unplugged.

Debut album from Cleveland born, NYC-based multi-instrumentalist, producer, singer-songwriter, and artist Cautious Clay. Deadpan Love, which includes previously released singles “Roots,” “Dying In The Subtlety,” and “Agreeable,” warps influences from R&B, Hip Hop and Indie Pop in Cautious’ trademark sophisticated songwriting and jazz- and blues-inflected instrumentation. “Deadpan Love explores the ways I cope with the worst of what humanity has to offer,” says Cautious. “It’s about opposites—having an outer layer that’s tougher, this “deadpan” state, and an inner layer of compassion, where you’re open to being there for the people you care about. It’s this warring compassion and cynicism that has empowered me to express myself through this medium.”

Das Phänomen POWERWOLF: Innerhalb der deutschen Heavy-Metal-Szene findet sich wohl kaum eine
andere zeitgenössische Band, deren Erfolgskurve seit vergleichbar langer Zeit derart steil nach oben zeigt,
was mithilfe der im vergangenen Jahr veröffentlichten opulenten Werkschau „Best Of The Blessed“ zum
15-jährigen Bestehen deutlich sicht- und hörbar unter Beweis gestellt wurde. Nun, nur rund 12 Monate
später, steht das achte Studio-Album unter dem Titel „Call Of The Wild“ in den Startlöchern, von dem
mit Fug und Recht behauptet werden darf, dass es neue Maßstäbe setzt!
Zeitsprung ins Jahr 2005. Bereits auf seinem Debüt „Return In Bloodred“ etabliert das Quintett um den
Lead-Gitarristen und Haupt-Songwriter Matthew Greywolf einen in dieser Form nie dagewesenen Stil, der
klassischen Metal melodischer Spielart mit erhabenen Orgelklängen und orchestralem Bombast vereint.
Alles an POWERWOLF, von den elaborierten Texten - die mal augenzwinkernd humorvoll, mal bitterböszynisch von Phantastischem und Historischem handeln - bis zur omnipräsenten sakralen Symbolik, nährt
die mystische Aura des Fünfergespanns, die über die folgenden Jahre mit jedem weiteren Werk an
Bedeutung gewinnen und auf unzähligen Touren in eine einmalige, nicht von ungefähr als
„Metal-Messe“ bezeichnete Liveshow übersetzt werden soll. Die süßen Früchte der eisernen Treue zu den
traditionellen musikalischen Wurzeln, bei gleichzeitiger konsequenter Weiterentwicklung ihres ureigenen Sounds, ernten POWERWOLF aber nicht nur von den Bühnen ausverkaufter Konzertsäle aus, sondern
auch an der hart umkämpften Chart-Front. Dreimal gelang in den letzten Jahren der Sprung aufs
Treppchen der offiziellen deutschen Albencharts - zweimal davon auf die Pole-Position - und im
europäischen Ausland wurden die jüngeren Veröffentlichungen „Blessed & Possessed“ und „The
Sacrament Of Sin“ mit Gold, die Hit-Single „Demons Are A Girl' Best Friend“ gar mit Platin
ausgezeichnet.
Warum außer Frage steht, dass das am 16. Juli 2021 erscheinende Opus „Call of The Wild“ in Sachen
Popularität einen weiteren Quantensprung bedeuten wird, erklärt sich sowohl langjährigen als auch frisch
gewonnenen Fans schon im ersten Hördurchlauf wie von selbst: Gerahmt vom Eröffnungs-Titel ”Faster
Than The Flame”, der sich pointiert als „POWERWOLF in Reinkultur“ beschreiben lässt, und dem
großen Finale ”Reverent Of Rats” verströmen die elf enthaltenen Songs zwar stets Vertrautes, wagen aber
auf jedem Schritt des Wegs Weiterentwicklung in vielerlei Hinsicht. So mutet etwa das
unverschämt-eingängige ”Dancing With The Dead” regelrecht tanzbar an, während ”Alive Or Undead”
als Power-Ballade allererster Güte den Ruf des Frontmanns Attila Dorn als absolutem Ausnahme-Sänger
endgültig zementiert. „Call Of The Wild“, das sich einmal mehr als heißer Anwärter auf den
Chartstürmer-Titel ins Rennen stürzt, ragt anno 2021 als turmhohes Ausrufezeichen aus der
Musiklandschaft hervor und vermittelt wie kein anderes Werk das leidenschaftliche Credo
POWERWOLFs: Metal is religion!

During 2019, Blondie was invited to perform in Havana, Cuba as part of a cultural exchange through the Cuban Ministry of Culture. This was a 40 year ambition come especially for songwriter & guitarist Chris Stein, who had longed to visit Cuba for most of his life. Artist and director Rob Roth documented this special moment and career highlight by shooting a short film titled “BLONDIE: VIVIR EN LA HABANA”.

The film is broken up into 3 parts — Water, Fire and Air — and present a meditation on the experience as well as highlights from the two-night live musical performances with special guests Alain Perez, David Torrens and Cuban Fusion Pioneers Sintesís at Havana’s famous Teatro Mella.

With narration from Blondie founding members Debbie Harry, Chris Stein, and Clem Burke, providing a glimpse into the passion and beauty they discovered in Havana and the magic moments of performing alongside incredible Cuban artists. “BLONDIE: VIVIR EN LA HABANA” goes beyond the atypical short form film and live music documentary by presenting a portrait of the legendary band’s first experience in Havana and of the magical exchange between musicians from the two cities each call home and their intertwined influences.

The sound track for the film features Cuban musicians Carlos Alfonso, Ele Valdés, María del Carmen Ávila, Alejandro Delgado, Juan Carlos Marin, Jamil Schery, Degnis Bofill, Adel González

Released in July on limited edition pale blue vinyl to accompany the film which will feature throughout 2021 in many prominent Film Festivals inc the Tribeca Film Festival.

Five-time ARIA award-winning producer, songwriter and artist, Nick Murphy announces the highly anticipated new album from his Chet Faker project, Hotel Surrender. In a return to making music that simply felt good, Nick Murphy revived his acclaimed billion streaming Chet Faker project in October 2020 after a six-year hiatus. The culminating result is Hotel Surrender: a self-produced, self-written 10-track LP that reintroduces the swaggering bass lines and electrifying melodies that made fans fall in love with Chet Faker the world over

Matt Scottoline recorded Hurry’s fourth studio LP Fake Ideas in the days leading up to the outbreak of COVID-19, not that the two are linked in any way, with bandmates Rob DeCarolis (Univox), Justin Fox (Cherry, Kite Party), and Joe DeCarolis (Psychic Teens). Fake Ideas is the successor to Hurry’s Every Little Thought, released on Lame-O Records in 2018, which is an album that could be considered very successful when judged by certain parameters. Fake Ideas maintains the band’s beloved anxiety-ridden affability, while taking a more guitar-driven route to dive deeper into their classic power pop sound.

guccihighwaters is the artistic persona of 21 year -old artist/producer Morgan Murphy. Since his debut single in 2017, Murphy has exploded in the cloud rap community and his music has been streamed over 200 Million times. His new album, joke's on you, is his debut for Epitaph Records and will be his first available on vinyl. guccihighwaters is the keystone to the label's dedication to this sound that we feel is the future of Alternative music. Spending his formative years growing up in rural Ireland, Murphy was shy and when his family returned to their native New York, that shy 15 year-old turned to bedroom production and starting making his own beats. He began to indulge his musical vision by exploring community on the internet, finding a place to belong that he had not found prior. As a singer, Murphy was a bit of an outsider to the Soundcloud rap world he'd begun to orbit. "I was grouped in because of the time and place and platform," he says. His use of original piano with a classic touch and his angelic singing gave him an original voice with?in the scene's crowded world. Even if he wanted to blend in, he didn't know how. With Jokes On You, he says, "basically my goal was to make it sound like me." Some members of that community, like Powfu and nothing,nowhere, feature on the album, adding their voices to Murphy's signature sound. guccihighwaters is a top digital artist in the Indie Pop/Cloud Rap space, releasing his music on vinyl for the first time. Album features include lo-fi sensation powfu, top emo-rapper Convolk and popular alt-hip-hop artist nothing, nowhere. For Fans of powfu, Lil Peep, nothing, nowhere and Lund.

A 14 track single black vinyl LP compilation featuring many of the group’s most cherished hits including "Together", “Cowboy to Girl”, "(We’ll Be) United”, “I'll Always Love My Mama (Part 1 )”, “I Wanna Know Your Name”, “Mother and Child Reunion", "Slow Drag" & "Sad Girl". Marketing activity across all 6 of these titles.

Demon Records presents Distortion: Live, the fourth and final edition in a series of expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. The final volume in the series features 8LPs of live recordings from across Mould’s solo career.
8 LPs including –
• 4 live albums – Live At The Cabaret Metro, 1989 (first time on vinyl), The Joke Is Always On Us, Sometimes, LiveDog98 (first time on vinyl), and Live At ATP 2008 (first time on vinyl)
• Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl
with unique splatter effects
• Bonus LP Distortion Plus: Live which features live rarities including B-sides and stand-out tracks from the Circle Of Friends concert film
• Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston Plus -
• A 28-page companion booklet featuring: a new and exclusive foreword by Bob Mould; an interview conducted by journalist Keith
Cameron; an exclusive testimonial from Bully’s Alicia Bognanno; rare photographs and memorabilia

Hologram is the first release from New York Post-Punk legends A Place To Bury Strangers on their own newly formed label, Dedstrange. Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers’ rawest, most unhinged sound. With songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in. Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.

For more than five decades, John McLaughlin has deployed his peerless guitar technique, compositional gifts, and imagination in service of a deeply personal higher calling, forging a vast legacy unmatched in improvised music. Now as the world reels from the toll of the ongoing viral-induced global lockdown, McLaughlin reflects on both the perils and potential of this challenging moment with ‘Liberation Time’. Characterised by both joy and reflection, ‘Liberation Time’ finds McLaughlin harnessing his frustrations and redirecting that energy. “The result,” he explains in a candid liner note, “was an explosion of music in my mind.”. Unusual for McLaughlin’s recent projects, ‘Liberation Time’ is not the work of one fixed ensemble. With physical proximity no longer a prerequisite, McLaughlin drew upon decades of experience as a bandleader to select musicians best suited to each composition. “That is a choice that can only be made correctly if you know how the musicians play,” he explains. “Not just how well they play technically, but how they play intuitively. Only then can you make the right decisions.” “As the Spirit Sings” introduces the album by contrasting churning rhythmic tension (stoked by drummer Vinnie Colaiuta and bassist Sam Burgess) with McLaughlin’s soaring guitar figure - all underpinned by Gary Husband’s subtle,expansive piano. Knotty post-bop figures form the basis of “Right Here, Right Now, Right On,” one of the most jazz-inflected performances McLaughlin has laid down in some time, featuring Nicolas Viccaro (drums), Jerome Regard (bass), Julian Siegel (tenor saxophone), and Oz Ezzeldin (piano). It is impossible to ignore the profound brotherhood that exists between the members of 4th Dimension - McLaughlin’s current ensemble, which includes Husband along with Etienne Mbappe (bass) and Ranjit Barot (drums). They are featured on the soulful “Lockdown Blues,” a playful refraction examination of blues tropes first released last summer to benefit the Jazz Foundation of America.

180g Coloured Vinyl Series. Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’ Prestigious Jazz Magazine. “....The mood of their Verve recording together, though, was deliberately gentler, less taxing, more intimate. These tunes, light in their way, almost homespun, are invested with an extraordinary humanity. There isn’t an ounce of sentiment in “Under a Blanket of Blue” or “Isn’t This a Lovely Day?”, but there is deep feeling and a profound sense of human solidarity. They were not singing about civil rights, there is no erotic charge in the encounter; when they sing about breaking hearts, it’s clear that everything is mendable. The challenge of bebop had been met and quietly negotiated. Here was jazz with its original message: the individual matters, but others matter, too. The mutual respect with which Ella Fitzgerald, Louis Armstrong and the other four exceptional musicians go through a repertoire of unforgettable standards selected by Granz is readily apparent. Songs like “They Can’t Take That Away from Me”, “Tenderly” and “April in Paris” make Ella & Louis a jewel of simplicity and timeless humanity.” Vocals; Louis Armstrong, Trumpet & Ella Fitzgerald Vocals; Oscar Peterson, Piano; Herb Ellis, Guitar; Ray Brown, Bass; Buddy Rich, Drums Hollywood, August 16, 1956. Original Session Produced By Norman Granz. *Bonus track: Ella Fitzgerald (vc), Louis Armstrong (tp, vc) with Bob Haggart & His Orchestra. New York, January 18, 1946. 5 Stars - Down Beat Magazine Ella & Louis is one of the very, very few albums to have been issued in this era of the LP flood that is sure to endure for decades.” (Nat Hentoff)

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Frank Sinatra & Count Basie Sinatra Basie + 2 Bonus Tracks (Orange Vinyl) “Sinatra had long since mastered the microphone, which had become his instrument, capable of a full-on roar or a whisper so intimate it seemed to be spoken inside the listener’s head. Tackling things like “Nice Work If You Can Get It” and “I Won’t Dance” took him back to a kind of repertoire he had mastered
two decades before. The youthful sheen hadn’t quite left the voice and age hadn’t yet darkened it. Basie wasn’t the greatest sight-reader and may not have played on all the tracks, but his band knew the score and Sinatra-Basie remains a collaboration of great strength and naturalness.” Penguin Guide to Jazz “The following decade would see his comeback to stardom, and Sinatra-Basie remains one of the highlights of that period. In this summit meeting, the iconic sonority of Basie’s orchestra is sublimated by Neal Hefti’s arrangements, while Sinatra, impeccable from start to finish, draws from the prodigious energy of the horns, strings and drums of this triumphant big band a simply irresistible elegance.” Jazz Magazine

Glamourama Records Classic Lps On 180g Vinyl + 7” Bonus Single On Colored Vinyl Included Inside (plus bonus track “I Gotta Know”. Package includes an exclusive collector’s re-release of a very rare 1960 single including the hits “It’s Now or Never” and “A Mess of Blues”. ELVIS PRESLEY vocals and guitar, plus: Scotty Moore (guitar), Bob Moore (bass), D.J. Fontana or Buddy Harman (drums), Floyd Cramer (piano), The Jordanaires (backing vocals). Recorded at RCA’s Studio B, Nashville, Tennessee, March 20 & 21, 1960. Hank Garland (guitar), Boots Randolph (saxophone & claves), Charlie Hodge (vocal harmony). Recorded at RCA’s Studio B, Nashville, March & April 1960. Produced by Steve Sholes & Chet Atkins. 7” SINGLE: ELVIS PRESLEY, vocals and guitar; Scotty Moore (guitar), Hank Garland (electric bass on “A Mess of Blues”, guitar on “It’s Now or Never”), Bob Moore (bass), D.J. Fontana or Buddy Harman (drums), Floyd Cramer (piano), The Jordanaires (backing vocals), Homer “Boots” Randolph (sax) added on “It’s Now or Never”. Recorded at RCA’s Studio B, Nashville, April 4, 1960 (“It’s Now or Never) & March 21, 1960 (“A Mess of Blues”). Originally issued on the single 7” RCA Victor 47-7777 in 1960

New pressing, with a front punch of color! It’s the yellow belt edition!
(yellow vinyl)Take an auditory trip through a wacky world of oddball and obscure ‘classick’ exploitation cinema soundtracks from the 1960s and early 1970s, presented by one of the most beloved genre film video companies of all time’ Something Weird! Two LPs chock-full of oddities and earworms with great sets of liners and track by track factoids!

The ethereal harmonies of Eve were ever present, but the psychedelic girl group feel of their previous band, Honey Ltd, was replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s. In the late 1960s, four teenage girls from Detroit hitch-hiked to Los Angeles to follow their dream. Known as the Mama Cats, their combined voices, created a magical instrument, a holy harmonic vehicle built upon the inspiration and improvisation of four close friends. Their ethereal voices and heavenly harmonies sounded like no one. Upon meeting Lee Hazlewood in Los Angeles, he was bowled over, offering them a recording contract on his label, Lee Hazlewood Industries (LHI), renaming them, Honey Ltd. Their sole 1968 LP never saw the light of day. Out of the ashes of the group, the three remaining members continued on under the name Eve. In the spring of 1970, Eve and producer Tom Thacker went into the studio to record "Take It And Smile". The ethereal harmonies were ever present, but the psychedelic girl group feel of the Honey Ltd album were replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s (Think John Philips "Wolfking Of L.A.). Backed by another amazing group of musicians, the recording sessions included members of the Wrecking Crew, Elvis' TCB band, Ry Cooder, Sneaky Pete and Glenn Frey from the Eagles. Featuring songs by James Taylor, Fred Neil, The Gibb Brothers, Burt Bacharach, Bob Dylan, Mac Davis and a handful of amazing originals including the beautiful "Dusty Roads" and the title track "Take It And Smile," co-written with Glenn Frey. Upon its release, the album failed to find an audience. After recording one last song, "So Tired" for The Vanishing Point soundtrack, the girls went their separate ways, each continuing to sing professionally with artists that include Bob Seger, Neil Young, Tina Turner, Loretta Lynn and countless others. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the reissue is complimented by a new Q&A interview with Eve members Laura Creamer, Temmer Darigan & Joan Glasser and GRAMMYr-nominated reissue producer Hunter Lea. This record is the first release in a new series of full albums reissues from the LHI (Lee Hazlewood Industries Records) catalogue that Munster will be releasing over the next months. All the releases include liner notes and exclusive interviews with the artists, rare photos, and restored original artwork

With his debut release for Peckham club and label institution Rhythm Section International, Hackney-raised Jerome Thomas is declaring the dawning of a new age for British soul music.

Jerome’s school was a home filled with non-stop music; whether that was bootleg CDs of Rare Groove from East London’s Sunday markets to late 90s R&B on The Box or family favourites; Marvin Gaye, Curtis Mayfield, Al Green, Chico DeBarge, Jill Scott. He learnt his prodigious vocal craft of ad-libs and harmonies by listening to Brandy’s ‘98 LP ‘Never Say Never’ on repeat.

Working with a live 6 piece band of assorted ages and musical backgrounds from rock to classical jazz, Jerome’s sound is a 180 degree turn from the direction of travel of UK R&B which has trended towards producers tracks made inside the computer. Jerome composes the pieces, then allows space for interaction with his long term musical collaborators. The ‘organic decisions’ open up the scope of his music as they jam and record. The result is a sound that could been made in the 70s, the 90s or the 00s. He’s the new blood of the sophisticated British sound that traces back to artists like Mica Paris, Soul II Soul and Omar.

For Jerome, music has literally been a life saving vessel for self expression. Like 1% of the population, he has a stutter, which disrupts the fluent flow of his speech. The stutter disappears when he sings, freeing his voice as it’s transformed into an instrument. As an introverted, intuitive Pisces, the songwriting process lets him explore and express his internal cosmos; “a lot of my songs are like diary entries addressed to people I haven’t been able to talk to or speaking about desires I am too embarrassed to talk about”. Jerome describes his sound using the acronym FOE, standing for “Freedom of Expression” and “Fusion Of Everything”. His music is a space for him to dissolve boundaries and binaries.

“As soul beings we are all a mixture of masculine and feminine; a mixture of our Mum and our Dad”. His fine falsetto explores a register that can read as masculine or feminine. The romantic story that runs across the two vinyl sides of “That Secret Sauce” is told without specifying a gender point of view. As Jerome says “we all experience the same thing with romantic situations, so I didn’t want to pin it to one side”. Like many of the great soul records, a close listen to “That Secret Sauce” reveals its romantic narrative; from first meeting to sexual infatuation to the dissolution of the affair, the breaking up and the moving forward - keeping your energy clear. It’s a tale as old as time, retold.