Search:never

William The Conqueror have paid their damn dues.
Like the sportsman cutting chipped teeth in the
lower leagues before shooting to the very top, this
band have lugged all the amps, placated the inhouse sound guy for an easier life, their nails dirty,
their hair unkempt. Enough.
Except it’s never enough, because despite their
slinky, swampy, razor-sharp, blues-drenched, guitar
thrashed alt. rock songs that form new album
‘Maverick Thinker’ and suggest that the door is
opening for bigger rooms and broader audiences,
it’s those sticky basement bar stages where the
songs have always shed a skin and come alive.
The record put the three piece behind the glass at
Sound City Studios in LA, treading the same carpet
as the likes of Nirvana, Johnny Cash, Neil Young,
and Fleetwood Mac and they might well have
inhaled the spirit of them all.
William The Conqueror’s protagonist is Ruarri
Joseph who knows his way around a melody and a
verse. Joseph’s wryness suggests life just ain’t
plain sailin’ and he fizzes that sigh and lament into
something that breathes heavy with heart and with
soul.
Vinyl format comes in a gatefold sleeve with
printed inner sleeve and digital download card.

Off the back of her critically acclaimed self-titled
debut album released last year on Invada Records,
Billy Nomates returns with her new EP, ‘Emergency
Telephone’.
The EP is pressed on ‘Ocean Blues Blue’ vinyl and
housed in a deluxe spined sleeve with digital
download card included.
With huge support from BBC 6Music, the year
came to a climax when she was asked by Iggy Pop
to step into his shoes to cover his Christmas show
and, together with featuring on the new Sleaford
Mods single ‘Mork n Mindy’, Billy Nomates has
proved herself to be one of the most original and
respected new artists coming through this year.
‘Emergency Telephone’ sees Billy Nomates develop
her unique sound and unflinching lyrics. Of the
new EP she says, “‘Emergency Telephone’ is
predominantly about communication breakdowns;
personally, mentally, physically. A strange thing to
happen while communication has never had so
many channels. Perhaps we need a direct line.”

Pianist/composer Maria Kannegaard presents ‘Sand i en vik’, a rapid
follow-up to the album ‘Nadeslas’.
Where that latter album was an experimental and expressive affair, the former sees her return to more familiar musical pastures, although with a different viewpoint and attitude. Kannegaard’s piano playing remains immaculate, never cluttered or wasteful, always conveying the right mood or emotion, the perfectly balanced response to both the composition and the development of it.
The compositions carry their own moods and unique characteristics, their own internal tensions, sometimes haunting, sometimes exuberant, sometimes seeming stretched to a breaking point.
Plaintive ballads sit alongside riff-driven stompers, moments of abstract expressionism interweave with stop-start angular motifs, unexpected harmonizations, and moments that seem to be formless before revealing themselves to be details within a larger, clearer picture.
Frequently sounding like much more than a trio, the album is mixed and mastered by the award-winning Stefano Amerio at Artesuono recording studios.

Second album released on Insanity Records from London based/Bedford born pop/soul singer. This is the follow up to 2018's gold certified 'Lighting Matches'. A 14 track album whose production credits include Dan Grech, Eg White and Lostboy among others. Single LP on black vinyl and standard CD. Plenty of radio support across all the singles released so far: 'Little Bit Of Love', 'Amen', 'Something Better', 'Oh Please' and 'This Is The Place'. Digital campaign. Video plays across MTV/Vevo/Tik Tok. Online/social media activity. Ads, features, interviews ad reviews across all press. TV promo includes Graham Norton Show interview and performance plus more to follow. TV ad campaign. Pending UK tour dates. Poster campaign and database mailout.

Legowelt teams up with medieval music expert Jimi Helinga once again for a new album in their 'para-academic' Zandvoort & Uilenbal project. Folk Triumfator is the successor to the cult 2016 GERUIS UIT SOMBERDORP in which they return to appropriate historical instruments and mix it with 'modern'synthesizers. We can hear a medieval Hurdy Gurdy, A Victorian Harmonium, a 1950's Mixtur Trautonium, an electro acoustic thumb harp and much more, all mingled and amalgated into the unique Zandvoort & Uilenbal sound. It all crackles and squeaks like an old haunted ship drifting into a foggy sinister harbour while being obsvereed by Ligottian clown puppets. We can write how conceptual and arty this all is but let's just say this is hardcore dark ambient with lots of medieval drone space jazz influences to trip your mind out into a region where time and your opinions cease to exist.

"Ultra Eczema rarely reissues records: firstly, because we believe it's hard to improve on a good original (and we would never want to republish anything that isn't); and secondly, it's called the Internet and you can find everything on it. Nonetheless, in 2015 we reissued Kraus' 'I could Destroy You With A Single Thought', a CDR from 2004, because it was camping in our all-time favourite records list for a decade and the data on this erratic medium tends to erase itself, much like a troubled past. 'A Golden Brain' was published in the first wave of the Covid pandemic via Kraus' bandcamp as a digital release. And once again we couldn't help ourselves. This is Kraus at his best: if a bedroom could be a stadium, he would play the main stage! Limited edition of 300 copies. Includes an insert, download code and a UE sticker."

Glenn Miller, leader of the best-loved dance band of all time
enlisted in 1942 in a personal crusade to entertain Allied
troops with his own distinctive brand of music. Whether
delivering ballads or setting the dancefloor moving with
‘Pennsylvania 6-5000’ and ‘The Woodpecker Song’, Miller
and his merry men set the mood of not only his fellow troops
but whole nations. He, and they, will never be forgotten.

"The Queen", they called her and Dinah Washington's regality
was nowhere more apparent than in the recording studio,
where she was uncompromising in her demands for the best in
material and in backing. She is marvelous in this recording,
which dates from 1957, for not only did she have some great
standards to sing in arrangements by Quincy Jones and Ernie
Wilkins, two of the best around at that time, but she also had
behind her a star-spangled band (the trumpet section alone is
sufficient indication of its quality) that gave her every
opportunity to be at her best.

Operation Ivy's contribution to the history of US punk rock has never been in doubt. Not only did they invent and define the entire ska-punk subgenre, but they also featured Tim Armstrong and Matt Freeman, i.e. half of the members of one of the most successful punk bands ever: Rancid. This 14 track scorcher collects a killer set from KSPC radio in Pomona, CA, March 1988. 'Junkies Running Dry', 'The Crowd'', and more of their uncountable hits played live and raw! Skank to the beat!

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Deep Seven No.10, the infamous final 12” from Deep Seven that never reached a full release. Only a short promo run hit the shops in 1993 before the label closed for good. ‘Release’ brought to the series a continuation of the huge tracks that graced local label ‘Contagious’ in the early 90’s. As time passed, ‘The Jungle’ / ‘Musical Movements’ reached cult status, exchanging hands for hundreds of pounds when a copy surfaced on the market. The rarest of all the Deep Seven releases, with an additional version of ‘The Jungle’ that was not included on the original press. Remastered from the original DAT and presented on our 180g vinyl, this final 12” completes the entire Deep Seven back catalogue.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

Slotface-Bassist Lasse Lokoy gehört mittlerweile zu den spannendsten Produzenten Norwegens und präsentiert - nach ersten Kollaborationen mit Girl On Red und dePresno - sein Solodebütalbum "Badminton". Darauf gehen seine Pop-Experimente aus Hip-Hop, Pop und Rock laut NME mehr in Richtung Gorillaz statt Green Day, im Vergleich zum Pop-Punk von Slotface. Ihm zur Seite stehen eine Vielzahl an Featuregästen wie Nils Bech, Moyka und Safario.

PRESSESTIMMEN
"A kaleidoscopic, mutating take on pop, more at home with Gorillaz than Green Day." - NME
"An unexpected left turn." - DIY
"A melting pot of experimental sounds and feel good rhythm that'll have you pressing play straight after it finishes." - The Line Of Best Fit

The first in our programme to release all three Ohio Players Westbound albums on vinyl. “Pain” was their first for the label, released in 1972. The album charted relatively modestly at #21,
but it was the six months that it spent on the charts that was the surest indicator of what was to come rough.
This would come with their next Westbound album, “Pleasure”, and the hit, ‘Funky Worm’. Featuring the first of Joel Brodsky’s series oficonic covers. Regular weight black vinyl in a gatefold sleeve.

Following the reissue of Marta Ren "Stop Look Listen" album, Record Kicks is proud to present the reissue of another mega rare and super in-demand vinyl from its vaults: Sydney soul/funk outfit DOJO CUTS' second legendary album "Take From Me". The second studio album from the Aussie band will be finally back available on vinyl on a classy limited edition clear LP on March 12th.

"Take From Me" was originally released in 2012 and once again features the sizzling, smoky vocals of Miss Roxie Ray. This much anticipated follow-up to their 2009 debut on Record Kicks, has rapidly became a "classic" in the deep funk and soul scene with millions of streamings on the digital platforms. The originally LP has never been repressed and the few available copies change hands for crazy money on Discogs.


This is the album where all of Dojo Cuts' experience and hard work reaches its deeply soulful zenith, with tracks such as in "Easy to come home", "Sometimes it hurts" and title track "Take From Me". With the liner notes written by dj and collector Russ Dewbury (Jazz Rooms) and the support of the entire Daptone Records family aka Gabriel Roth, Neal Sugarman and Homer Steinwess, this is a must have for all the funk & soul lovers. Watch out the repress is limited to 500 copies worldwide.

When the film ‘White Men Can’t Jump’ was released in 1992, an EP of music from the film was dropped almost simultaneously. That EP, cheekily titled ‘White Men Can’t Rap’, featured a couple of exclusive gems, notably Gang Starr’s ‘Now You’re Mine’ and a cut from Main Source called ‘Fakin’ the Funk’.

The only single borne of that six-track EP was the Main Source track, released in remixed form on Wild Pitch records the same year. No surprise, it was head and shoulders above the rest.

Opening with those unmistakable harmonies from Main Ingredient’s ‘Magic Shoes’, the intro segues into a crisp beat borrowed from Grady Tate’s frequently sampled ‘Be Black Baby’ from 1969. Throw in a sprinkle of Kool & The Gang and you’ve got a track that would fit seamlessly onto Main Source’s masterpiece of an album, ‘Breaking Atoms’.

Instead, it’s the group’s last hurrah, the final collaboration between K-Cut, Sir Scratch and Large Professor before the latter departed the trio. It’s fitting that he saves one of his best vocal performances for last, railing at sell-outs with the assistance of his long-term collaborator Neek the Exotic.

Never released before on an official 7”, it’s a track that has lost none of its appeal, and the remix is the definitive version of this classic.

• Samples Main Ingredient’s ‘Magic Shoes’ and Grady Tate’s frequently sampled ‘Be Black Baby’

• First ever 7” release of the Remix

• Also available on Limited Edition Neon Green vinyl

When it came to playing soul jazz with organ combos, jamming bebop with a quartet, caressing ballads or coming up with fresh approaches to Latin jazz and spirituals, the versatile Grant Green was at the top of his field. Among his many recordings, his most vital and adventurous remains Idle Moments. With such inspiring sidemen as Joe Henderson, Bobby Hutcherson and Duke Pearson, Green is heard at the absolute apex of his creativity throughout this stunning set.

He builds up statements like a masterful speaker, sounds both passionate and thoughtful at every tempo, and never runs out of brilliant and personal ideas to express. Every phrase leads to the next one yet all of his solos are spontaneous. While the other musicians are inspired and in top form, Idle Moments is particularly notable as the height of Grant Green’s musical genius!

A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscenses, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.

Today, The Wytches announce their third album Three Mile Ditch. The album features the recently released single “Cowboy” which marked their return after four years away and to celebrate the announcement they share new single “A Love You’ll Never Know”. The track is accompanied by a music video by Mark Breed and he explains,

“The music video format was a long process. Making the set was incredibly fun with Kristian crafting most of the miniatures.I then had to film the green screen band performance within the set before recording the edited version onto my VHS camera. Finally I shot the finished edit inside the view finder.”

The album recorded with Luke Oldfield at Tile House Studios will be released on their own label Cable Code Records on Friday 2nd October.

“This is the first thing that I've ever been proud of for longer than a week,” says The Wytches frontman Kristian Bell of the band’s latest album Three Mile Ditch. This sense of vigour and enthusiasm coming from Bell about the band’s third album is matched by its contents. The album is an explosive collection of 10 tracks that weaves seamlessly between gut-wobbling monster riffs, swampy rock, slick surf, and finely tuned songcraft. It’s also the result of a band coming back from the brink of collapse.

The band’s early trajectory was a steep and speedy one as they quickly established themselves as one of the country’s most exciting and pulverising new bands. Major festival slots stacked up at places such as Glastonbury, SXSW, Reading and Leeds, and British Summertime with the Strokes. As did the tours across the US with METZ, traversing Europe with Fat White Family and Death Grips. They garnered support from BBC 6 Music, DIY, MOJO, NME and more. However, when the ascent to the stratosphere is moving at such a speed, there’s a risk of burning out and imploding, and the band came close to this.

They were on the rocks for a while, unsure of themselves and if the band should - or even could - go on. “I had it in my head that this kind of thing only really happens once and to try it again might be a big waste of time,” Bell reflects. However, despite the difficulties, the powerful pull of the band was too great to ignore.

“We had an album’s worth of songs that was some of our best material. The mission became to complete a Wytches album rather than get The Wytches back on the touring circuit. This album helped us make the decision to try it again.”

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure. With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-eff acing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.” No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to ist collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a fi rm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World. And with this new master, it’s never sounded better too.

With his new album, Year Of The Living Dead, Vienna-born and LA-based producer John Tejada finds a blissful extended moment of balance between the new and the familiar. Anyone who’s followed his career to date, which has included four previous albums for Kompakt, outings for storied labels like Plug Research, Playhouse and Cocoon, and numerous remixes and collaborations – most recently, his Wajatta duo with actor and musician Reggie Watts – will immediately sense the warmth and eloquence that Tejada brings to his gilded, pliant techno and electro hybrids. But there’s more here, too; an explorer’s glimmer in the producer’s eye, as he gets to grips with new ways of working and being, while offering a reflective opening for the listener, something echoed in artwork by graphic designer and ‘contemplative artist’ David Grey.

“The album was started using tools I was unfamiliar with, which became an interesting exploratory process,” Tejada says. “Staying away from the obvious and having to re-learn simple things was a fun challenge.” You can hear these new creative pulsions pushing the eight tracks on Year Of The Living Dead ever-forward; the album has an unique cast, and though there are trace elements of the genres Tejada has indulged previously, he’s never quite put them together this way before. There’s the dubwise glitter sprinkled across the moody opener “The Haunting Of Earth”, the kind caresses found amongst the deftly woven textures of “Sheltered”, and the churchy melancholy, all hymnal and golden, of “Echoes Of Life”.

Year Of The Living Dead also speaks obliquely to its moment, though Tejada works this implicitly, allowing the strange circumstances of 2020 to cast their inevitable shadow without being obvious or didactic. “The production process began right before lockdown and continued through what felt like a very serious time for all of us,” he recalls. “Not being able to see or touch our loved ones made me feel we are all like ghosts. We can observe from a distance but cannot really be there. We are isolated and alone.” And yet, Year Of The Living Dead’s tenderness offers an out for that anxiety and loneliness, its intimate immensities gifting the album a redemptive and compassionate core. Compact and glistening, Year Of The Living Dead sculpts unassuming beauty.

Mit seinem neuen Album “Year Of The Living Dead“ findet der in Wien geborene und in Los Angeles lebende Produzent John Tejada die richtige Balance zwischen Neuem und Vertrautem. Wer seine bisherige Karriere verfolgt hat, seine vier Alben für Kompakt, Beiträge für Labels wie Plug Research, Playhouse und Cocoon, zahlreiche Remixe und Kollaborationen wie zuletzt das Projekt Wajatta zusammen mit dem Schauspieler und Musiker Reggie Watts, spürt sofort wieder die Wärme und Eloquenz, die Tejada in seine geschmeidigen Techno-Elektro-Hybride einbringt. Doch es geht auch noch einen Schritt weiter. Da ist dieses Aufblitzen des Entdeckers im Auge eines Produzenten, der sich mit neuen Arbeits- und Seinsweisen auseinandersetzt und dem Zuhörer gleichzeitig etwas sehr Offenes und Nachdenkliches anbietet, etwas, das im Artwork des Grafikdesigners und "kontemplativen Künstlers" David Grey nachklingt.

"Ich hatte angefangen, das Album mit mir noch unbekannten Tools zu produzieren, was sich zu einem interessanten Forschungsprozess für mich entwickelte", sagt Tejada. "Sich vom allzu Offensichtlichen zu trennen und einfache mal Dinge neu lernen zu müssen, war eine recht spaßige Herausforderung.“ Man kann diese neuen kreativen Impulse hören, die “Year Of The Living Dead“ auf einer Länge von 8 Tracks nach vorne treiben; das Album hat einen einzigartigen Ansatz, denn obwohl es Elemente der Genres gibt, denen Tejada zuvor gefrönt hat, hatte er sie doch noch nie zuvor so zusammengefügt wie hier. Da ist dieses dubbige Glitzern im atmosphärischen Opener "The Haunting Of Earth", die freundlichen Zärtlichkeiten, die man in den Texturen von "Sheltered" findet, und schließlich die heilige Melancholie im hymnischen "Echoes Of Life".

Auch “Year Of The Living Dead“ enthält Andeutungen auf die momentane Situation und erlaubt es, den seltsamen Umständen des Jahres 2020, ihren unvermeidlichen Schatten zu werfen, ohne dabei zu offensichtlich oder gar belehrend zu sein. "Der Produktionsprozess begann kurz vor dem (ersten) Lockdown und setzte sich in einer Zeit fort, die sich für uns alle als eine sehr ernste Zeit anfühlte", erinnert er sich. "Da wir nicht in der Lage waren, unsere Lieben zu sehen oder zu berühren, hatte ich das Gefühl, dass wir alle wie Geister sind. Wir können nur distanzierte Beobachter sein, aber wir können nicht wirklich anwesend sein. Wir sind isoliert und allein." Und doch scheint die Zärtlichkeit von "Year Of The Living Dead" einen Ausweg aus dieser Angst und Einsamkeit anzubieten, die grenzenlose Intimität des Albums enthält einen erlösenden und mitfühlenden Kern. Derart konsistent und schillernd formt "Year Of The Living Dead" eine unprätentiöse Schönheit.

DRP (Dom & Roland Productions) was started in 2006 for Dom to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Mando is one of Doms closest friends. He has been writing music for over 25 years. A gardener by day, he shuns the limelight and has always maintained writing music is his secret hobby! He had a studio in the room next to No-U-Turn in the 90s which was eventually taken over by Optical and Edrush.
Until fairly recently he never released anything! He has an amazing ability to create sick grooves, his style is raw and refreshing and not over produced like a lot of modern music. If i had to pigeonhole his style I would say 90s neurofunk.

Both these tracks play to his strengths. This is his first release on vinyl, so will become collectable!

DJ PLAY: What? In their bedrooms? These people regularly play DRP tracks… Rene Lavice, Laurent Garnier, Giles Peterson, Jerome Hill, Digital, DJ Bailey, DJ Lee, Bryan G, Fabio, Grooverider, Loxi, Andy C, Break, Kasra, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Ulterior Motive, Noisia + More.

Ultra rare 1979 KBD-style punk rock from Piteå – a small town situated in the very north of Sweden. Rock Set are buzzing of small town boredom and fuck authority attitude. The name Rock Set was inspired by UK pubrockers Dr Feelgood’s Roxette -a few years before Per Gessle took the Roxette moniker to the top of the Billboard chart. “Piteå Kommun” never reached the Billboard chart but over time it has generated a cult following amongst punk rock aficionados all over the world. Original copies are nowadays changing hands for hundreds of dollars. A fact easily understood when hearing Rock Set’s perfect mixture of punk-, mod- and garage-rock.
In the late fall of 2020 OTD traveled to Piteå in order to find the members of Rock Set. A license deal was made and in true OTD fashion the sound recordings were remastered and carefully restored. Many photos from the band members’ private photo albums are seen on the printed inner sleeve. Liner notes by Peter Kagerland. Turquoise vinyl.
File under: ”beyond essential to any serious rock’n’roll fan”.

At an age of plastic and digital screen reigning, when it is almost impossible to feel anything in front of a contemporary art piece, it is still possible to be moved by a drum machine …. and a keyboard……

There are still artisans and sunday painters who will put a little of their troubles and their humanity at the service of their art. Certainly a merchant of colors in a previous life, Med paints his songs with a Benedictine patience, distilling its doubts in its small pop compositions with soft water reflections where everyone could see themselves as in a mirror.

MED is Médéric Gontier, guitarist of Tahiti 80, first solo effort. Where the band had not often ventured outside English, Med uses the French language and caresses it in the direction of its melodies. Produced with the help of Pedro Resende, these are ten pieces both aerial and aquatic, light but finally of a real consistency.

Immediately pop («Dans ses yeux»), reminiscent of the great French composers of the sixties («Avec toi») and with them that of the English of Broadcast to Vanishing Twin («Muzak»).

It’s a bit time for the Norman to make a pause and for that, to put his nose out, it’s freetime, the one of those who will never claim to be better than the others but whose records will be kept close to the heart.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

It was the end of a century, and as the 1990s inevitably applied its brakes, Dubstar were sent flailing through the windscreen of popular music. Their third album, the unfortunately-titled Make It Better, lay bleeding at the side of the road, itself a casualty of one-too-many personal and professional traumas.


In the following years there were some half-hearted attempts to record more music- even the occasional, low-key live appearance here and there- but it wasn’t until 2015 that Sarah Blackwood and Chris Wilkie found themselves formally reconstituted and writing new material in dedicated earnest. Not because it was expected, but because they couldn't help it.

With the support and encouragement of legendary producer Youth, they began sessions for One, which represented the beginning of a new chapter in the Dubstar story, and one which has audibly benefitted from the passing of time. The album is generally considered to be the first worthy successor to their platinum-selling debut Disgraceful, and serves as generous compensation for the wilderness years, while promising even better things on the horizon.

Be No Rain, the moniker of South London’s Sam Frankl is a project that was born out of a studio decked out with disco balls, fairy lights and fake ivy; a perfect aesthetic to the sound that followed.“It felt like there needed to be a character that could be as flamboyant as I wanted to be and remove the constraints that being human leaves you with” Frankl explains “It was incredibly liberating”.It’s about being trapped into that infinity loop of emotions, like a cartoon character wandering through a world he never quite understood”.The debut album from Frankl comes on the back of a collaboration with Armin Van Buuren on single Hollow. All album’s come signed by Frankl.

Jazz Behind the Dikes Vol 2 is the second installment in the Jazz Behind The Dikes series, which highlights some of the greatest Dutch jazzmen under ideal conditions: in their own combo’s and playing the music of their own choice in complete freedom. The result is straightforward modern jazz by renowned Dutch jazz musicians such as Rob Madna Trio, Tony Vos Quartet and Frans Elsen Quartet.

This second volume of the series is available as a limited edition of 500 individually numbered copies on white vinyl. The third and last volume in this series will be released later.

Horace Andy's voice is an instrument that once heard is never forgotten, regardless of whether you first hear it on one of the numerous Jamaican reggae singles that he recorded during the 70s or - like most people - on one of the Massive Attack albums he collaborated on as a vocalist. His falsetto and his characteristic slow-motion vibrato breathed life into tracks like "Spying Glass", "Cuss Cuss", "In The Light", "Skylarking" or "(You are My) Angel", ensuring that they still continue to resonate deeply with listeners. His vocal style influenced countless root singers and the combination of his timbre with Massive Attack's spartan hip hop beats still inspires legions of fans and copyists all over the world. Echo Beach has now picked up on this tradition - and the much older tradition of versioning - by asking friends of the label to rework Horace Andy's classic tracks in their own sound outfit. But this time the label hasn't trawled old Studio One tapes for historic vocal snippets - that would sooo nineties; no, Horace Andy personally put in an appearance to sing new versions of his classic tracks on top of timeless and contemporary riddims. Age may have deepened his voice, but it is by no means weaker, as can be heard on this album, on which Echo Beach welcomes old friends and new faces: there's Rob Smith, who as part of More Rockers and Smith & Mighty was just as crucial for Bristol's musical reputation as Massive Attack or DJ Krust & Roni Size. Today, he ensures continuity by working under the label and producer name.

A few years ago, a certain Robin Schulz released a DJ mix on SoundCloud. Hailing from the town of Osnabrück, Germany and completely unknown at the time, he dubbed his mix “Wenn Träume fliegen lernen”, referencing the Peter Pan movie “Finding Neverland”. Seven years down the line, Robin Schulz hasn’t only found his Neverland, but keeps adding new chapters to his fairy tale.
Take this one, for instance: Robin Schulz is now the only German artist in the country’s chart history with three diamond-certified singles. Following “Prayer in C“ and “Waves“, his hit single “Sugar“ is the latest to officially reach this rare feat. Add his 275 gold and platinum awards in 30 markets, sales in excess of 20 million and nearly 8 billion global streams and you get the idea why the German DJ and producer is considered an exceptional phenomenon.
It should come as no surprise that he didn’t get there by accident. That also goes for his coming fourth album “IIII”, slated for a February 26 release. Over the course of three years, the creative powerhouse that is Schulz created ideas and worked tirelessly on the album whilst touring all around the world. “Of course, I’m absolutely stoked about gaining the third diamond award in my career”, Robin shares. “However, in my head I’m still that bloke from Osnabrück who wants to make it out there with his creative vision. With that ambition, I also approached my new album.” Some of the album’s songs are already well familiar – “Speechless” (feat. Erika Sirola)”, “All This Love” (feat. Harloe), “Rather Be Alone” (feat. Nick Martin & Sam Martin), “In Your Eyes” (feat. Alida), “Alane” (feat. Wes) and the current single “All We Got” (feat. Kiddo). Another 11 tracks are still to see the light of day and Robin is looking forward to releasing them soon: “I can’t wait to share the new cuts with you. I really hope you’ll love them as much as I do”, he says.
Robin is ready to write the next chapter of his very own fairy tale.





e 5. All We Got (feat. KIDDO) Explicit

Doppler Vinyl 2x180g (1xRed 1xGreen vinyl)

A few years ago, a certain Robin Schulz released a DJ mix on SoundCloud. Hailing from the town of Osnabrück, Germany and completely unknown at the time, he dubbed his mix “Wenn Träume fliegen lernen”, referencing the Peter Pan movie “Finding Neverland”. Seven years down the line, Robin Schulz hasn’t only found his Neverland, but keeps adding new chapters to his fairy tale.



Take this one, for instance: Robin Schulz is now the only German artist in the country’s chart history with three diamond-certified singles. Following “Prayer in C“ and “Waves“, his hit single “Sugar“ is the latest to officially reach this rare feat. Add his 275 gold and platinum awards in 30 markets, sales in excess of 20 million and nearly 8 billion global streams and you get the idea why the German DJ and producer is considered an exceptional phenomenon.



It should come as no surprise that he didn’t get there by accident. That also goes for his coming fourth album “IIII”, slated for a February 26 release. Over the course of three years, the creative powerhouse that is Schulz created ideas and worked tirelessly on the album whilst touring all around the world. “Of course, I’m absolutely stoked about gaining the third diamond award in my career”, Robin shares. “However, in my head I’m still that bloke from Osnabrück who wants to make it out there with his creative vision. With that ambition, I also approached my new album.”



Some of the album’s songs are already well familiar – “Speechless” (feat. Erika Sirola)”, “All This Love” (feat. Harloe), “Rather Be Alone” (feat. Nick Martin & Sam Martin), “In Your Eyes” (feat. Alida), “Alane” (feat. Wes) and the current single “All We Got” (feat. Kiddo). Another 11 tracks are still to see the light of day and Robin is looking forward to releasing them soon: “I can’t wait to share the new cuts with you. I really hope you’ll love them as much as I do”, he says.



Robin is ready to write the next chapter of his very own fairy tale.

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk.

The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul.

The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record.

Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It’s followed by the serene but melancholic bossa groove of “Oye Mamá, Oye Papá” and the strings and guitar of “He Bajado Al Infierno” that hold up vocals reaching for an eternal truth. With full-on soundtracky feels, the rolling keys underpinning the Morricone-esque soundscape of “En Ellos Creo” will give you goosebumps. The gorgeous “Soy Rebelde” (“I’m Rebellious”), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment.

Perhaps Sola’s most well-known track, the exotic bossa of “Tabu, Tabu”, is a formidable groove. Elegant bongos, prominent bass, delicate acoustics and a persistent flute blend with Sola’s unique voice; sinuous, sassy and forceful at the same time. The stunning “La Última Palabra”, while not literally the album’s last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players.

If you hadn’t decided already, the final two tracks that are the funk-fuelled “Bada-Bada-Ba” and the horn-heavy percussive masterclass “Únete A Mi” will leave you in no doubt that this is one very special record.

Mastered with great respect by Simon Francis, cut by the master Pete Norman and with that sleeve lovingly restored by the Be With team, this re-issue ensures that Un Muñeco De Madera now sounds, looks and feels as beautiful as it deserves to.
: Un Muñeco De Madera (LP)

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* We reach the penultimate Deep Seven No.9 that never made it to vinyl back in 1993. This is now available to own and settles the speculation over the missing 9th release that has accumulated for over 25 years. Ant Miles's last Hardcore production under the guise ‘Ironik’ comes in the form of ‘Feel the Feeling’. Uplifting original vocals feature over pumping basses and funk breaks capturing that ‘93 Hardcore vibe. The flip ‘Inspiration Station’ again features original vocals encompassing the Junglistic Hardcore flavours emerging from that era.

Digging deep through old and new, Basso captures arcane woodland fusion, serene electronic suites and wide eyed Balearic bliss on this first Growing Bin compilation.

This collection celebrates those precious records which land in your life on their own terms. Even the most advanced digger will admit that chance is the secret ingredient in any successful haul. Sure, it helps if you know where to look, but if you arrive a day early at that secluded second hand shop, or an hour late at the convention, you might miss out on a rare sight of sound. But there are still ways to skew the odds in your favour. Even in the most crowded urban environment, a solitary tree soon becomes a nest, and Basso's fostered an abundant garden in his Hamburg hometown. A decade on and the Growing Bin is a safe haven for those exquisite sounds crowded out of the mainstream, the rare birds with the most striking song.

'Coffee' comes right after cocoa in the bin's headquarter, though start your morning with One Tongue and be prepared for a different kind of day. A witch's brew spiced with a hint of Durian and the early bird, this 1990 composition could be the blueprint for the Teutonic trance dancers beloved by the Salon set. A more meditative magic flows through the A2, a smooth blend of fusion guitar, softly syncopated drums and counterpoint keys from one time art-rockers Inandout. This Growing Bin favourite from their '93-95' LP sounds right at home beside the majestic melodies and spheric bass of Matthias Raue's 'Brücke am schwarzen Fluss 2'. Taken from the soundtrack to a TV drama filmed in Mali, this digital homage to African rhythm shimmies in step with New Age dancers from Mkwaju Ensemble and Louis Crelier. The A-side ends with the unbridled optimism of Kosmische maverick Hardy Kukuk. The synthesist hit the studio with friends Karsten Raecke and Andreas Schneider in 86, coalescing crystalline electronics and gentle guitar into tender chord progressions suited for sun bathing beside the Sea of Tranquility.

The second side slinks into motion with the deep beauty and sincere spoken word of Frank Suchland's 'Schnee', a subtle body in a cocoon of reverb which takes Sade's 'I Never Thought I'd See The Day' to another level of placidness. Melancholic Germans Die Fische met in Cairo for the first time, and 'Conversation Of Everyday Lovers' could be the theme for that great city. Underpinned by primal percussion and a restrained groove, the track twists and turns between a trio of ineffable motifs, eternal combinations to the catacombs of Abusir. From there we go sublime, soaring skywards with a ten minute triumph from Hugh Mane. Balancing concentric sequences and space age synth riffs atop an irresistible breakbeat and bubbling bassline, the British producer finds a sensuous sweet-spot between fellow Growing Bin affiliates Krakatau and Singu.

Lucky are we who hear the Bin's sounds.
Patrick Ryder

Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the AltınGün experience and delivers their most compelling and individual album to date.

Amsterdam’s Altın Gün have built a strong reputation for melding past and present to make brilliantly catchy, psychedelic pop music, as seen with their Grammy-nominated second album, Gece. They are also a renowned live band with strings of sold-out shows on three continents, who have consistently brought a muscular groove to their recordings. Yol, their third album in as many years, excitedly continues these trends; while also digging in deep to unveil a new palette of sonic surprises.

Though it draws from the rich and incredibly diverse traditions of Anatolian and Turkish folk music, Yol is not just a record that reframes traditional sounds for a contemporary audience. The album often presents a textured, avant-pop sound as evidenced by the debut single "Ordunun Dereleri.” Mysterious and atmospheric, the track is a thrilling evolution for the band. It patiently coaxes the listener into a resonant soundworld of down-tempo electro beats, majestic synths and Erdinç Ecevit's yearning vocal of unrequited love.

The album also signals a very different approach in making and recording for the band. Singer Merve Dasdemir takes up the story: “We were basically stuck at home for three months making home demos, with everybody adding their parts. The transnational feeling maybe comes from that process of swapping demos over the internet, some of the music we did in the studio, but lockdown meant we had to follow a different approach.”

Yol displays a noticeable dreaminess, maybe born from this enforced time to reflect. And select elements of late 1970s or early 1980s “Euro” synth pop also shines through. This new musical landscape was nurtured by certain instrument choices; namely the Omnichord, heard on ‘Arda Boylari’, ‘Kara Toprak’ and ‘Sevda Olmasaydi’, and the drum-machine, an instrument that is key to the gorgeous closing number, ‘Esmerim Güzelim’. Dasdemir once more: “bass player Jasper Verhulst loved the song. He said, ‘it doesn’t sound like Altın Gün, this sounds like a Turkish kindergarten music teacher from the 1980s using an 808!”

As ever, the tracks are the result of a true group effort, with ideas on Omnichord, 808 and other elements - such as field recordings and new age-esque ideas - continually kicked about between the six band members. At a safe distance of course. The record also owes something special to its production team, the band working this time with Asa Moto (the Ghent-based producer-crew, Oliver Geerts and Gilles Noë) who mixed the record. Before this Altın Gün always recorded on tape with their own sound engineer.

It would be wrong to say that what made Altın Gün such a loved and successful band has been left to one side. The pressure-cookers ‘Sevda Olmasaydı’ and ‘Maçka Yolları’ are classic cuts from the band. And their signature employment of a dizzying array of ideas and approaches can be heard with the marked Brazilian feel of ‘Kara Toprak’ and ‘Yekte’. Cosmic reggae filters through the grooves of ‘Yüce Dağ Başında’, and there is a steaming version of ‘Hey Nari’ which gives the traditional composition by Ali Ekber Çiçek a kick onto the dancefloor.

But with Yol, Altın Gün have maybe patented their own magical process of reimagining and sonic path-finding, one probably not heard since the late 1960s and early 1970s British folkrock boom. Less of a reworking than a seduction, their recordings transport the listener to a world where the original songs never previously inhabited. Merve Dasdemir again: “After we worked on them, they got a whole new life of their own. Maybe we went a little bit too far (laughs).”

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

Now available in a limited vinyl edition of 1000 copies, singer Petra Haden excels in this beautiful and unique program of songs penned by the
songwriting team of Zorn and Harris.
Friends for many years, they began working together on The Song Project in 2012, and eight years later this LP presents the full fruits of their collaboration: thirteen Zorn compositions with original lyrics by Jesse Harris. Including selections from a wide variety of Zorn projects (and one original that has never appeared before), the melodies are catchy, the lyrics heartfelt, the grooves deep and the solos profound and exhilarating.
Backed by the amazing Julian Lage, Jorge Roeder and Kenny Wollesen and produced by Jesse Harris, this is a LP that you will listen to again and again.

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

‘Stay Sane’ is the hotly-anticipated new album from London based artist Ocean Wisdom out now on his own label Beyond Measure Records.

Widely considered to be one the most technical rappers alive, his first release from the album campaign ‘Drilly Rucksack’ is a stellar offering, showcasing Ocean’s rapid-fire flow as he takes on political themes relevant in Britain today. Speaking on the track Ocean said “‘Drilly Rucksack’ is a fictional tale of a magical rucksack that protects its owner from evil Tories whilst also offering consolation and reassurance to the daughters whose lives they have presumably made miserable.”

Given the name Ocean Wisdom at birth, Ocean grew up immersed in hop-hop and reggae and began beatboxing aged seven. His homelife was what he describes as ‘hectic’, as his mum worked as an emergency foster carer. Years of writing lyrics and practicing followed and his uncompromising work ethic drove him to leave home at 17 and start working on his craft daily, never missing a single day. He used his passion for music as a way of channeling his anger and controlling his mental health, in addition to avoiding the fate of some of his friends. His meticulous attention to detail and hardwork paid off and over the past 5 years has seen Ocean’s meteoric rise lead to a quarter billion streams across all platforms and collaborations with legendary artists including Method Man, Dizzee Rascal, Fatboy Slim, Akala, Roots Manuva, Ghetts and Foreign Beggars.

Famed for his technical abilities, Ocean broke numerous records at a young age, including beating the standing Guinness World Record for most words per minute in a hit song, dethroning Eminem’s "Rap God". He remains one of the few UK rappers that can tour worldwide, headlining arenas across Europe, New Zealand, Australia, Russia and the Middle East. Since then he has gone on to set up his own label to release his music as well as building his own studio and creating a platform for future artist to thrive.