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• This slice of Louisiana deep Southern soul has taken on a life of its own since Dave Godin included it on his first “Deep Soul Treasures” CD, and the single has shot up to well over three figures in value.

• In 2021 the song is the subject of a cover version by the-name-to-drop Lady Blackbird and we felt it was about time that it was reissued in its original format.

he British singer Paul Young gained his highest level of commercial success with his second album The Secret Of Association, which featured several hit singles. The album was originally released in 1985 and was certified gold in the US and platinum in the UK, reaching #1 in the UK album charts. The album’s most notable single was his cover of Daryl Hall’s “Every Time You Go Away”, which hit #1 on the US single charts and
#4 in the UK. In addition, the album features “I’m Gonna Tear Your Playhouse Down”, “Everything Must Change” and “Tomb of Memories”, which all charted well.

The Secret Of Association is available as an expanded edition and includes various mixes of the singles, B-sides “Give Me My Freedom” and “Man In The Iron Mask”, and also live versions of “No Parlez” and “Bite The Hand That Feeds”. The album is available as a 2LP limited edition of 2000 individually numbered copies on gold & black marbled vinyl.

Formed in 1983, Hallows Eve was a thrash metal band hailing from Atlanta, GA, whose first brush with notoriety came via the inclusion of their song Metal Merchants” in the Metal Massacre, Vol. 6 compilation two years later. Duly signed by the collection’s parent label, Metal Blade, the group, comprised of vocalist Stacy Anderson, guitarists David Stuart and Steve “Skullator” Shoemaker, bassist Tommy Stewart, and drummer Ronny Appoldt, released their debut album, Tales of Terror, later the same year and then followed it with two more discs (1986′s Death & Insanity and 1988′s Monument).

Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”

When it comes to legendary albums, very few can match the cult status achieved on the international jazz and funk scene, by Alice Clark's eponymous album, recorded for Mainstream Records in 1972. The record which went unnoticed when it first came out has become one of the most sought-after albums ever since it became cult on the London jazz and funk scene in the late 80s. It is now being acknowledged as one of the best soul albums of all-times. Recorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by Jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favourites, "Don't You Care" and "Never Did I Stop Loving You" plus a selection of heart-wrenching songs beautifully sung by Clark. Very little is known about Alice Clark and the legendary two-day session. All is known is she only ever recorded one album and passed away in the early 2000s. Wewantsounds will tell the Alice Clark story for the first time and give a unique insight into the birth of this cult album with a deluxe release that will pay tribute to her talent.

Beyond their highly sought after 1978 album Festa Para Um Novo Rei­ - home to the mystical jazz-funk classic ‘Vidigal’ and released on Philips’ iconic Musica Popular Brasileira Contemporanea series (MPBC) - little is known about Marcos Resende & Index, even to aficionados of obscure Brazilian music. Far Out Recordings is immensely proud to present their previously unreleased self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music.

Born in Cachoeiro de Itapemirim, Brazil in 1947, Marcos Resende was a prodigious child who learned to play the accordion at the age of two, and the piano aged six. In spite of his immense musical potential, he travelled to Lisbon in the 60s to study medicine. Yet continuing to explore his musical passion on the side, he formed a trio which went on to open for Dexter Gordon at the Cascais Jazz Festival in 1971. From here he formed the electronic oriented prog-jazz group Status, who opened shows for the likes of Elton John, Phil Woods, Stan Getz, Art Blakey & The Jazz Messengers, but in spite of their relative live success they have no known recordings.

Now established as a highly regarded keyboardist, composer, and innovative electronic musician, Resende returned home to Brazil following Portugal’s Revolução dos Cravos in 1974. Inspired by US jazz and British progressive rock he’d experienced while residing in Europe, Resende went all out acquiring a keyboard arsenal to be reckoned with, which included the Prophet 5, Yamaha CP-708 and Mini Moog. Determined to integrate his newfound inspirations with Brazilian rhythms and jazz traditions, he formed a new quartet with Rubão Sabino (bass), Claudio Caribé (drums) and the late great Oberdan Magalhães, of Banda Black Rio and Cry Babies fame. Marcos Resende & Index recorded their self-titled debut at Sonoviso Studios with the legendary sound engineer Toninho Barbosa, known as the ‘Brazilian Rudy Van Gelder’ whose impressive resumé includes the era defining classics Light As A Feather by Azymuth, Previsão Do Tempo by Marcos Valle, and Quem É Quem by João Donato. Marcos Resende & Index fits perfectly amongst these masterpieces, sharing both the timeless ethereal qualities as well as the progressive and futuristic ideals of Light As A Feather in particular.

Lion's Drums full length exists as en exploration in multiple dimensions. First by challenging the notion of the album format by presenting a body of work that lies snuggly between remixes, edits and original works and secondly as a means to delve into the transcendent potential of the drum. The album sets the tone by putting these two concepts fully on display with its hypnotic chant, swaying one into ease over the first two songs. In orderly cue folding and unfolding, meditatively through, melodies as muddied pastelle whispers cast over the measured language of the drum. Breaking away from the musing themes of the opening songs we find an ecstatic ritual in "Tanz der Korperlinge" and "Journey to Middle Earth", two distinct varieties but both of the same perennial species. Inky ether seeps back in through the second half of the album with a peak of frenzied tumbling toms and incongruous textures hovering above in the Manos Tsangaris' collaboration "Crying Tafel" and his re-imagining of Tullio De Piscopo's unhinged drum excursion "Fastness". The closing exemplifies the edit/remix/original ethos proposed for this work with Lions Drums drawing from tapes and original material of electronic pioneers Suzanne Ciani and Roberto Musci. Drawing from unreleased music and song sketches by the original artists as well as field recordings from travels & studio sessions made by Roberto Musci & Manos Tsangaris in the 80's and early 90's he constructs a side winding journey through playful textures and ethereal moods.

As songwriters we spend a lot of our lives trying to bottle up a feeling into a song, and often, the biggest feelings, the best ones... the complicated, detailed, messy, incredible ones... just aren’t going to fit. Line by Line is our recognition of that... of how one song just isn’t enough to capture it all, but how we’re just going to keep writing, futilely and lovingly, anyway". - JP Saxe ABOUT JP SAXE Toronto-born, Los Angeles-based singer-songwriter, JP Saxe always finds a way to cut beyond the surface, tapping into a deep connectivity with universal emotion and human experience. His powerful duet with Julia Michaels titled “If The World Was Ending,” led to his late-night TV debut on The Tonight Show Starring Jimmy Fallon last November. JP and Julia also performed the song while quarantined for The Late Late Show With James Corden. Idolator proclaimed the song ‘packs a strong emotional punch,’ and PEOPLE Magazine praised the song as a “beautifully stripped back piano ballad.” JP has also amassed fans at The FADER, following his single “Women Who Look Like You”, featuring rapper Guapdad 4000. In February, JP released his anticipated six-track debut EP, Hold It Together. TIME Magazine praised the project for “exploring the weird – sometimes lovely – sometimes painful – emotions that bubble up in relationships” and included “3 Minutes” off the EP in their ‘5 Best Songs of the Week’ roundup. Over the last year, JP completed a nationwide summer/fall tour with Noah Kahan and joined Lennon Stella on her European tour.

‘The Afro Modern Seventies Sounds of Soweto’s First Nightclub

• Over ten years in the making, this is the first compilation from South African vinyl re-issue specialists Matsuli Music

• Ten track double gatefold album journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheid

• Uniquely South African take on the trans-Atlantic sounds of Philadelphia, Detroit and New York City

• Cover artwork by Zulu Bidi (of Batsumi fame) with unseen photographs, and liner notes by Kwanele Sosibo featuring interviews with key musicians, players and a former president of South Africa

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

A night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.
In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers as

its cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.
One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

Svart Records is proud to unleash the debut album from Dutch female Black Metal duo Doodswens! “Lichtvrees” (translation: fear of light) will be unveiled to the world on the 14th of January 2022. Doodswens Black Metal is a bleak, distorted wave of negative energy according to the tenets set by the Scandinavian originators but with their own new organic reflection of darkness. Their name translated as “Death Wish,” Doodswens breathe new life into the dust of the past, inspired by the rawness of the ‘90s and capturing the black hearts of a new throng of acolytes as they ignite the gloom. Founded in Eindhoven in 2017 by Fraukje van Burg (vocals and guitar) and Inge van der Zon (drums), Doodswens initially erupted into the underground scene in 2019 with their demo, which sent a shiver through its decaying corpse. With their debut album “Lichtvrees,” Doodswens opens up the cesspit of the human condition, giving voice to our bleakest emotions through old-school Black Metal like a freshly dug grave. Proudly expressing feelings of inner negativity and depression, Doodswens have taken the promise of their underground roots and crystallized their very own atmospheric war of sound on “Lichtvrees,” making it an enthralling and captivating inception. With deathly conviction and intense passion they bring their music alive on stage, playing at Roadburn Festival and many esteemed nocturnal events, their cult infamy leading them to be picked for a support slot on Marduk’s upcoming tour of Europe. If you like your Black Metal served especially cold, but with wide-screen atmosphere, then Doodswens could be your new moonless catharsis. “Lichtvrees,” is a highly conceptual work which deals with life and death, reaching enlightenment and fulfilling the symbolical “death wish” that Doodswens represents. Cast your shadow in the unholy light of “Lichtvrees” and discover a rising new star in the Black Metal cosmos.

Outernational Sounds very proudly Presents The Mallory-Hall Band "Song of Soweto" & "The Last Special".
Limited, fully licensed digital and vinyl reissues of two crucial South African sessions led by Charles Mallory and Al Hall, Jnr., featuring Kirk Lightsey, Marshall Royal, Rudolph Johnson, Billy Brooks and more! Essential companion pieces to Kirk Lightsey’s legendary ‘Habiba’.
Featuring tracks:
Song Of Soweto: Side A – ‘Song of Soweto’, ‘Hamba Samba’; Side B – ‘Cape Town Blues’, ‘Moroka Rock’, ‘The African Night’
The Last Special: Side A - ‘The Last Special’, ‘Princess of Joh’Burg’; Side B - ‘Amafu (Clouds)’, ‘Blue Mabone’
Never released outside South Africa, and out of print since 1974, Outernational Sounds presents two long-lost Johannesburg sessions from the Mallory-Hall Band – an all-star review of West Coast jazz stars who toured apartheid South Africa in the mid-1970s.
Sanifu Al Hall, Jnr. is a musician’s musician. During a storied career stretching across six decades, Hall has recorded with the greats of the music including Freddie Hubbard, Doug Carn, and Johnny Hammond, and leads his own Cosmos Dwellerz Arkestra. But until recent years, the only records on which he had appeared as leader were a brace of rich, funky LPs, Song Of Soweto and The Last Special, issued only in South Africa under the moniker of The Mallory-Hall Band (named for Hall and his co-leader, guitarist Charles Mallory – musical director for Martha Reeves and the Vandellas, Mallory was conductor for Dusty Springfield touring bands, and had worked with John Lee Hooker, Stevie Wonder, and many others). Neither LP had any wider release, and both have remained out of print since 1974. How did a young stalwart of the Los Angeles jazz scene end up in a recording studio in apartheid South Africa?
Al Hall, Jnr. and Charles Mallory had arrived in South Africa as part of the touring band for the singer Lovelace Watkins. Sometimes billed as ‘the Black Sinatra’, the Detroit-born Watkins sang standards and ballroom classics on the Las Vegas circuit. He never made it big in the US, but in his 1970s heyday he was a huge star in southern Africa, and 1974 he hired a jazz big band to accompany him on a tour of South Africa – Hall and Mallory were part of the line-up, alongside Mastersounds bassist Monk Montgomery, pianist Kirk Lightsey, tenorist Rudolph Johnson, drummer Billy Brooks, and Marshall Royal, musical director of the Count Basie band. The tour was a huge success, and during downtime from performing, members of the group managed to independently record no fewer than three albums. Lightsey and Johnson’s stunning Habiba was the first (reissued as Outernational Sounds OTR.013), and it was followed by two crucial sessions led by Hall and Mallory – Song of Soweto and The Last Special, issued on the local IRC imprint.
Visiting apartheid South Africa in 1974 was a controversial choice for any artist. Numerous artistic and cultural bodies around the world had already announced that their members would boycott the country in solidarity with the struggle against apartheid, and working in South Africa was severely frowned on by anti-apartheid activists everywhere. For a Black band, touring the country to play to mostly white audiences could have been seen by many both inside and outside South Africa as a questionable decision. ‘It was a batch of mixed reactions when I choose to visit South Africa whilst apartheid policies were in place,’ Hall recalls. ‘To me the choice was a simple one – “I wanna see for myself!” I also wanted to be a part of breaking down racial barriers, having been down some of the same roads in my own country.’
The albums were recorded by a twelve-piece band at Johannesburg’s Video Sounds Studios in December 1974, and feature the legendary pianist Kirk Lightsey, Black Jazz recording artist Rudolph Johnson, and the rest of the touring band. Both records are superbly arranged slabs of peak 1970s funky big band soul jazz, with tasteful Latin inflections and more than a nod to South Africa’s upful township jazz sound. They are the sonic traces left by a seasoned African American band who were touring South Africa in the depths of the apartheid era, and who immediately moved beyond the segregated hotels and ballrooms to build links with local South African players and audiences.
Never previously available outside South Africa, Outernational Sounds’ new editions of Song of Soweto and The Last Special (alongside our edition of Kirk Lightsey’s Habiba) represents the first time these albums have been in print for nearly fifty years. Fully licensed from Gallo Records and pressed at Pallas in Germany from Gallo’s original masters, they feature new sleeve notes from Francis Gooding (The Wire) based on interviews with Al Hall, Jnr., and a reminiscence from pianist Kirk Lightsey.

There is nothing quite like an evening under the rhythmic spell of the legendary David Morales. Stepping on the dancefloor while he's behind the decks requires full trust and surrender. You agree to hand the reins of your mind, body, and spirit to his intuition and ability to guide you to where you need to be at all times. It will occasionally be cathartic and intense. It will often make the hairs on your body stand on end, and make you sweat more than you ever have before. The endorphin release will be powerful. You will feel like you can touch joy and euphoria it in the air around you. As he gently brings you back down to reality, you will feel renewed and ready for anything life brings your way. This is more than a night of dancing. This is an experience at the hands of a magical maestro of music. How is this possible from a night on the dancefloor? Well, it begins with the brilliant mind of an artist at the peak of his creative power, imbued with the empathy necessary to connect with what has become a global legion of fans. "If there is any secret, it's really simple: I love what I do with all of my heart," Morales says. "I'm a DJ first. I thrive on human interaction. I am always adjusting my sets based on what the people in the room need. Each night, we form an emotional connection that inspires the music as it comes."

For Morales, "working in the studio is important, but it exists as a way of supporting the DJing experience. It's all to inform how it will work on the dancefloor."

To that end, you're reading these words as you dive into a new collection of Morales classics. Ever the collaborator, he has enlisted the input of a wide range of voices and talent. There is the diva power of fellow legend Ultra Nate, who brings her signature sass to "I Can Dream," while Michele Perera's explosive chemistry with David is all over the inspiring "Life is a Song" and "Never Give Up", as well as the impassioned "Addicted."

Morales reminds the listener of his ever-evolving musical scope in collaborations with blondewearingblack ("What Can I Do"), Lea Lorien ("Never Looking Back"), and Blakkat ("Can't Get Enough"). There's the clubland supergroup of David with Mr. V, Scotty P. and DJ Rae on "The Feels." Rounding out the set is a reunion with longtime muses Elle Cato ("I Feel Love") and British soul icon Joe Roberts ("Easy"). Just be sure to listen closely, because there's bound to be a surprise tucked between these grooves to tickle your ears and move your body.

The beauty of this sparkling new foray into electronic music is the heightened intimacy between Morales and the music. What you are hearing here is almost exclusively from the man's own fingertips. "The technology has evolved in the most extraordinary and liberating ways," he says, adding that he is now able to be far more directly hands-on during the building of each track. "Back in the '90s, I had to have more people involved, With the changes and growth in technology, I can now do it, myself. I don't even have to be in the studio anymore. It's smart, financially, but it's also way more fun and creative."

David adds, "I don't have to wait to manifest an idea anymore. I can just build my ideas as they come to me." In fact, he reveals that many of these new tracks were born in unique places, like planes, cars, his bedroom, and a host of other settings. "Music is always spinning around my mind. I no longer worry about losing an idea."

Surviving the highs and lows of an ever-changing world has also brought Morales back to the basic essentials of life and music. "The pandemic has brought things full circle for me," he says. "I love what I do and I still have the passion of a kid who is just getting started"

Yet, we know that Morales has been in the game for longer than a minute. He's a Grammy award-winning producer, remixer, and songwriter. He has lent his skill to countless of records by icons that include Mariah Carey, Madonna, Whitney Houston, Michael Jackson, Aretha Franklin, Donna Summer, Seal, and Jamiroquai. As a turntable artist originally from New York City, he earned his bones of credibility back in the '80s and '90s in clubs like the Paradise Garage, Red Zone, Tunnel, and Club USA. He initiated the concept of DJs touring beyond their hometowns with countless, wildly successful treks that have taken him the farthest-reaching corners of the world. As electronic music thrives on pop radium, David tops the list of every young artist and DJ as a primary influence.

Even with such a staggering legacy, Morales never looks over his shoulder.

"That is how you stumble and fall," he says. "If you get all caught up in the past, you're going to lose sight of what is right in front of you. You lose the excitement of discovery. That is what gets me off; taking what I know and combining it with what I don't know as I learn it. There is nothing better than experiencing how it all comes together. It's different every time."

And that is the ultimate secret to that extraordinary spell that David Morales casts over us all every single time.

Nico Gomez, a Belgian orchestra leader of Dutch roots, has long been a favourite with Latin fans, record diggers, DJs, and collectors alike. His blend of bossanova, latin jazz, and easy listening always turns up a few choice nuggets and surprises; what is perhaps most remarkable is that it was recorded in Europe.


Back in 2013, Mr Bongo re-issued Nico Gomez's sought-after 'Ritual' album from 1971, and now we follow it up with another jewel from his catalogue his 1972 album 'Soul Of Samba'. For this re-issue, we have opted to present it with the cover art originally used on the Trio Records version released in Japan. In the Netherlands and Belgium, the album was released with different cover art under the title 'Bossa Nova’, on Omega International and International Bestseller Company records, respectively. We loved the beautiful psychedelic design of the Japanese version and wanted to use it for this re-issue.

'Soul Of Samba' features several euro-bossa-jazz favourites such as the catchy 'Rio'; which was a firm DJ choice cut at jazz dance nights, including Brighton's 'Jazz Rooms' in the 90s. It also featured in Rainer Trüby's classic ‘Glücklich' compilation series which explored European-Brazilian-inspired music. The beguiling ‘Aquarela', with its engaging latin shuffle, entices feet to the dancefloor and is not one to miss. 'Agua’ has a lazy-quirky latin-funk feel with breathy-stoned vocals floating in the background. The album additionally features numerous breezy latin, Brazilian, and easy listening joints, some of which are ripe for sampling.

Gonzalo Benitez and Luis Alberto Valencia were kingpins of the musica nacional movement in Ecuador. Check them out on the cover, on a rooftop in Quito’s Old Town, surveying their dominion. In 1970, when Valencia collapsed onstage during a performance of the yaravi Desesperacion — ‘My heart is already in ashes’ — and died four days later, aged 52, his coffin was carried through those city streets on the shoulders of his fans.

They began singing as a duo in their mid-teens. During twenty-eight years together they recorded more than six hundred songs, for Discos Ecuador, Nacional, Granja, Ortiz, Rondador, Onix, Fuente, Real, Tropical, Fadisa, RCA Victor — and of course CAIFE.

Their exquisitely romantic harmonising is a sublime blend of collected forbearance and abject self-annihilation, underpinned and elaborated by the heart-piercing, improvisatory guitar-playing of Bolivar Ortiz. Effectively the third member of the group. ‘El Pollo’ sets the tone and intensity for everything that follows: listen to his soloing at the start of our opener, Lamparilla.

Musically a pasillo — a cross between a Viennese waltz and the indigenous yaravi rhythm — Lamparilla draws its verses from a poem by Luz Martinez from Riobamba, written in 1918 when she was 15, under the influence of Baudelaire and Mallarme. Another pasillo here, Sombras is one of the best-loved songs in the musica nacional canon, setting lines about undercover sex and loss by the Mexican poet Maria Pren, which were considered pornographic on publication in 1911.

And Benitez & Valencia looked back still further, to the indigenous roots of Ecuadorian music, as the key to its future. Carnaval de Guaranda is their take on a song dating back to the era of the Mitimaes, a broad group of Bolivian tribes conquered by the Incas and displaced to Ecuador. ‘Impossible love of mine / I love you for being impossible / Who loves what is impossible / Is the truest lover.’

Lovingly presented in a gatefold sleeve with spot-gloss, and printed inners, with stunning photos and expert notes. Excellent sound, drawn from original tapes, by way of Abbey Road, D&M and Pallas.

Al Doum and the Faryds continue their journey toward a New Direction. Now, they live in a futuristic Garden of Delights, inhabited by strange bright bubbles, golden wheels, water secrets and mysterious plants. From their home of Love & Nature, they set out to travel the Universe to forge a new Being together. Their typical blend of Spiritual-Jazz, Psychedelia and Afro-Latin Rock remains on the same wave, accentuating the collective rite of liberation and expansion of the spirit. There's certainly a greater lightness and airiness, expecially in the most immediate and direct arrangements to convey the message of brotherhood; because the absolute weapon lies in female voices and choirs. These chants are incisive gospel and soul sermons and their narration magically permeates throughout the album. Everything is always supported by the balance between robust and biting guitar riffs, raga-rock incursions, tribal rhythm sections and impregnable and captivating sax drifts; and echoes of the soft lysergic sound of the 60s cannot be missing. This is music of multiple forces, a sacred harmony to overcome barriers, which sees no enemies and breaks down egos. It's the playfulness and the power in making music together, the true magic recipe of these Freaky People: we are what the Universe wants!

I'll Look for You in Others is the bittersweet fruit of a painful time in the Portland, Oregon, electronic musician's life. Patricia wrote and recorded the album in 2020, in the aftermath of losing her mother-in-law to cancer and then, months later, losing a close friend. Created using her habitual materials-synthesizer and voice-in unfamiliar ways, the album served as a means of processing her feelings of heartbreak. Feeling disconnected from everything around her, including her usual approach to music, Patricia found new inspiration in spectral processors-digital FFT algorithms that pull apart and reconfigure audio. As she reshaped her synthesizers and voice into stark, silvery new forms, she realized that the process functioned as a metaphor for grief itself: a representation of the transformation that happens when our loved ones are no longer with us as a physical presence, but are still alive within us in a beautiful new way. I'll Look for You in Others is not just a document of loss; it is a testament to the way the loss of loved ones changes our lives, and the way the presence of those we've lost changes shape after they are gone. I'll Look for You in Others marks Wolf's official debut album, following a long, extensive practice of live performance, sound-design projects, contributions to benefit compilations, and reworks of the music of her friends and peers.

UMC are proud to present the release of What’s Going On: 50th Anniversary 2LP Edition on January 28th, 2022. This premium vinyl release features direct-to-analog mastering from the original primary album tape reels by acclaimed engineer Kevin Gray, one of the first times this has been done since 1971, offering an undeniably authentic listening experience. What’s Going On: 50th Anniversary 2LP Edition bonus LP opens up the album’s writing and production palette. Featured are four rare cuts making their vinyl debut, highlighted by a previously unreleased “stripped” version of the title song, plus all six original mono single mixes and their B-sides, with all of those 7” versions on vinyl for the first time since their original releases. Among them are alternate versions of “God Is Love” and “Flying High (In The Friendly Sky),” the latter issued on 45 as “Sad Tomorrows.” Full track listing below. With two 180gm records, a tip-on heavy stock jacket, original gatefold with complete lyrics, this formidable release also includes printed sleeves with track details, a rare image from the cover sessions, and a brief essay honoring arranger David Van De Pitte. Highlighted is a main essay by acclaimed author and poet Hanif Abdurraqib who was just named one of the 25 recipients of the 2021 MacArthur “genius” grant.

The album ‘Romeo’ explores Sega Bodega’s relationship
with his fictional girlfriend, Luci (after Lucifer: bringer of
light), who is a being made entirely from light.
 Featuring some of Sega’s best production work to date,
with a few real sonic curveballs. His vocal performance
is brought more to the forefront than ever before.
 The album shows Sega really coming into himself as a
multifaceted artist and independent great after a couple
of years of building a solid core fanbase and producing
for some impressive names in the alternative space
(from Shygirl to Caroline Polachek, for instance).
 ‘Romeo’ features guest appearances by acts including
Arca and Charlotte Gainsbourg.
 Previous press support for Sega comes from Dazed,
L’officiel (cover), Fader, Office Mag, NME, DIY, i-D plus,
at radio, Annie Mac (Radio 1), Matt Wilkinson (Apple
Music 1) and Nemone (6 Music) have previously
championed Sega’s work.
 Born in Ireland, raised in Glasgow and now based in
London, producer, performer and labelhead Sega
Bodega - aka Salvador Navarrete - has built a reputation
as being one of the UK’s most innovative and precocious
creative minds.
 Inspired as much by his close network of peers as his
love of cinematic soundscapes, Sega has made impacts
spanning across music, fashion and film, soundtracking
some of the most important cultural moments in recent
years, as well as building a catalogue of prolific and
critically acclaimed solo releases that traverse genre,
style and composition.

Debut gospel album from Georgia singer-songwriter Brent Cobb. 8 traditional gospel songs and one new original song (When It's My Time), incorporating multiple genres - country, Southern rock, blues, folk, soul. Produced, engineered, and mixed by six-time GRAMMY-winning producer Dave Cobb (Jason Isbell, John Prine, Brandi Carlile, Chris Stapleton) at RCA Studio A in Nashville, TN.

Capitalising on a defining year where PET NEEDS released their debut album ‘Fractured Party Music’, spent a summer playing outdoor gigs with fellow Xtra Mile artists as part of The Gatherings and recorded new music, the four-piece from Colchester step up a gear with huge plans for 2022. First up is the release of a deluxe edition of Fractured Party Music featuring 4 extra tracks including the new single ‘Punk Isn’t Dead (It’s Just Up For Sale)’. The album and single is out digitally on 14th January 2022. A few days later the band set out on a vast UK tour supporting Frank Turner – playing potentially to over 20K people – which culminates on 27th Feb at London Brixton. ‘Punk Isn’t Dead…’ has become a live favourite and has been rerecorded with that added live energy with Sam Duckworth (Get Cape. Wear Cape. Fly) producing. Playlists to pitch for: Spotify: The Punk List The Pit Feel Good Rock Pure Pop Punk Pop Punk’s Not Dead All New Punk Apple: New In Rock Breaking Hard Rock Pop Punk YouTube: New Rock Deezer: Punk Rock Other plans for 2022 include further far-reaching tours supporting Frank Turner across Europe and USA (dates for US tour to be announced), dates supporting Skinny Lister in Germany, their own headline shows and summer festivals. Below is the campaign overview for 'Fractured Party Music' standard format, released in March 2021.

Formed in 1983, Hallows Eve was a thrash metal band hailing from Atlanta, GA, whose first brush with notoriety came via the inclusion of their song Metal Merchants" in the Metal Massacre, Vol. 6 compilation two years later. Duly signed by the collection's parent label, Metal Blade, the group, comprised of vocalist Stacy Anderson, guitarists David Stuart and Steve "Skullator" Shoemaker, bassist Tommy Stewart, and drummer Ronny Appoldt, released their debut album, Tales of Terror, later the same year and then followed it with two more discs (1986's Death & Insanity and 1988's Monument). By 1989, the band had folded but eventually re-formed in 2004 with plans to record a new, as yet unreleased, effort. - Eduardo Rivadavia (All Music Guide)

Acclaimed Los Angeles indie songwriter Alex Brown Church has announced the release of Sea Wolf - “Through A Dark Wood (Deluxe)” on November 19 via Dangerbird Records. “Having it come out now feels kind of fitting,” Church remarked. “‘Through a Dark Wood’ originally came out in March 2020 at the beginning of the pandemic, when we were all entering into a new ‘dark wood’ together. We’re beginning to figure it out, though we’re still not sure what’s next. Just like the story of the album.” “Through A Dark Wood (Deluxe)” includes 5 new songs from the original sessions where Church, coming out of a bruising divorce, wrote, recorded and scrapped a full album's worth of material before starting anew. Deluxe Tracklist: 1. Witchknife 2. Reflections On A Grey Dawn (feat. Dustin O'Halloran) 3. Two Figures 4. Here For You 5. Animal Mind

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

There’s an ancient Japanese legend in which a horde of demons, ghosts and other terrifying ghouls descend upon the sleeping villages once a year. Known as Hyakki Yagyō, or the Night Parade of One Hundred Demons, one version of the tale states that anyone who witnesses this otherworldly procession will die instantly—or be carried off by the creatures of the night. As a result, the villagers hide in their homes, lest they become victims of these supernatural invaders.

Such is the inspiration for the latest album from EARTHLESS. “My son is really into mythical creatures and old folk stories about monsters and ghosts,” bassist Mike Eginton explains. “We came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories. I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”

Whereas 2018’s Black Heaven featured shorter songs and vocals from guitarist Isaiah Mitchell on much of the album—an unprecedented move for the San Diego power trio—their latest is a return to the epic instrumentals EARTHLESS made their unmistakable name on. Night Parade Of One Hundred Demons is comprised of two monster songs—the 41-minute, two-part title track and the 20-minute “Death To The Red Sun.”

The scenario that allowed for this kind of exploration was a stark contrast to that of Black Heaven. At that point, Mitchell was living in the Bay Area, which made it difficult for the band to get together and work on the type of long instrumental pieces they’re known for. But in March 2020, the guitarist moved back to San Diego. More specifically, he moved back the night the pandemic lockdown kicked in. Bad timing, perhaps—or maybe perfect timing.

Plus, they were all on the same page about not wanting to do another record with vocals. “In a way, I think this album was a reaction to our last record,” Eginton says. “Black Heaven was outside our comfort zone. I think it was a good record, but it was challenging to write songs in a more traditional verse-chorus-verse format. This one was more enjoyable. I’m sure we’ll do more vocal tracks in the future, but for the time being I see that album as a one-off.”

Given the record’s inspiration, it should come as no surprise that Night Parade of One Hundred Demons strikes a more sinister tone than the rest of the band’s catalogue. “It definitely has a darker, almost evil kind of vibe compared to stuff we’ve done in the past,” Rubalcaba says. “There’s more paranoia and noise, and some of Isaiah’s whammy-bar stuff kind of reminds me of these Jeff Hanneman moments in Reign In Blood, where it just seems like everything is going to hell. It’s pretty fun.”

Night Parade of One Hundred Demons was recorded in San Diego with Rubalcaba’s childhood friend Ben Moore, who’s worked with everyone from DIAMANDA GALAS and BURT BACHARACH to CEREMONY and HOT SNAKES. When Eginton wasn’t tracking his bass parts, he worked on the album’s incredible sleeve art. “He really dedicated himself to the project,” Rubalcaba says. “He’d be drawing in the studio with, like, a coal-miner’s lamp on his head while we were doing overdubs. He really knocked it out of the park.”

All told, Night Parade of One Hundred Demons isn’t just a return to the band’s traditional format—it’s a return to their very beginnings. “This album actually has the very first Earthless riff in it,” Eginton reveals. “We just recorded it 20 years after we wrote it. But we’re really happy with how this record came out. We feel it might be our finest to date.”

Never stuck for inspiration, people-powered and newly electrified singer-songwriter, Jamie Webster watched the world get weird and channelled every wicked turn into a new, 10-track album, Moments, set for release on Fri 28 January 2022. Following last month’s teasing single, Days Unknown, Webster reveals the follow up to last year’s number six-charting debut with new, rallying-cry single, Going Out.

Melding together two short stories, one of Paul and the other Annabella, Webster’s renowned people-watching prowess, setting vivid pen pictures of neighbours and strangers in his native Liverpool to music, switches to pin-sharp short fiction for Going Out. Cutting

across the strange absence of empathy for Britain’s young, Webster uses his characters to spell out the loss, frustration and rebellion of the twenty-somethings stopped in their tracks by recent circumstance and a tangle of incomprehensible rules.

Never stuck for inspiration, people-powered and newly electrified singer-songwriter, Jamie Webster watched the world get weird and channelled every wicked turn into a new, 10-track album, Moments, set for release on Fri 28 January 2022. Following last month’s teasing single, Days Unknown, Webster reveals the follow up to last year’s number six-charting debut with new, rallying-cry single, Going Out.

Melding together two short stories, one of Paul and the other Annabella, Webster’s renowned people-watching prowess, setting vivid pen pictures of neighbours and strangers in his native Liverpool to music, switches to pin-sharp short fiction for Going Out. Cutting

across the strange absence of empathy for Britain’s young, Webster uses his characters to spell out the loss, frustration and rebellion of the twenty-somethings stopped in their tracks by recent circumstance and a tangle of incomprehensible rules.

Russell Marsden and Emma Richardson first started writing songs together in their teens after meeting at school in their Southampton hometown. Forming Band of Skulls 17 years ago with drummer Matt Hayward, they went on to make five acclaimed studio albums together. Now, the pair have temporarily stepped away from Band of Skulls to focus on a new musical project they’ve been dreaming about since their earliest songwriting days.

The album covers the full breadth of human emotions, mining deeply into songs about human connection, vulnerability, loss, change, love, identity and forgiveness – as well as the future and hope. It’s vast in scope, something magnified by its grandiose cinematic feel that leans towards the soaring jazz arrangements of the 40s and 50s. The album’s strings were scored and directed by Tom Edwards, who had worked with Band of Skulls previously when he’d reimagined several of their songs. “When Tom sent back the first song, ‘Outsider’, it was a jaw-dropping moment for us to see what he’d done with it,” Emma says. “We challenged him to take inspiration from the incredible composers and arrangers from the 40s and 50s jazz era

Scott Lavene is set to release ‘Broke’ on 7th June 2019, an album that is drenched in living in the gutter but staring at the stars.

Lavene has the lyrical smarts and the fairground bark of an Ian Dury, the incisive wordplay of a Costello and the deadpan pop of Madness in his creative DNA, along with the street poetry of an Essex boy version of Lou Reed, the dislocated funk of Talking Heads, the jellied eel lyrical bounce of Chas and Dave, and the inventive surreal see-saw of a Tom Waits, and many other nonconformists.

It’s an intoxicating brew that he makes his own in this collection of wonderful quirky songs that make up ‘Broke’.

These are songs that are full of detail and a life lived in scuffed shoes, rainy towns and the magic of the everyday. Songs about small talk, being skint, doomed affairs and the sweetness of falling in love over a cup of tea.

Creating unconventional backdrops for his street tales Scott builds up shapeshifting rhymes and looping grooves.

Following the immense critical acclaim of Siti Muharam's album 'Siti of Unguja', On The Corner release a limited run of 500 transparent vinyl. Crowned Album of the Year 2021 by Songlines, 'Siti of Unguja' was also selected The Guardian's Global Album of the Month, The Wire's No.1 Global Album and included in best albums of the year lists in NPR and The Vinyl Factory.
Siti of Unguja tells the story of pioneering women, of the ‘golden voice’ of Siti Muharam, heiress to the singular legacy of her great grandmother, the mother of taarab, Siti Binti Saad.

On the Corner teases this first taste of a landmark recording that the label embarked upon two years ago on Zanzibar. Siti of Unguja has a transformative atmosphere, brimming with romance, passion and protest.

Zanzibar is an Island archipelago that lies 6 degrees South of the equator and 30 miles off the East African coast out in the Indian Ocean. Known for its spices, traditional Dhow sailing boats and being a mercantile trading capital of Swahili culture.

The modern history of Zanzibar can be animated through the life and legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing village of Fumba, on Unguja (Zanzibar’s largest island), she became the first Zanzibari recording artist and her recordings sold in tens of thousands across the swahili world.

PAUL DRAPER RETURNS WITH HIS NEW ALBUM, 'CULT LEADER
TACTICS'
Former Mansun frontman, Paul Draper, returns with a collection of his
fnest songwriting since the bands' imperial phase
'Cult Leader Tactics' is a self-help manual on how to become a complete cult in
the music industry & is his frst solo album since 2017's much- lauded 'Spooky
Action'.
'Cult Leader Tactics' offers a satirical analysis of the self-help manual genre. A
guide on how you can get to the top of your chosen profession, or ahead in life &
in affairs of the heart, by acting in a Machiavellian manner, employing dirty tricks
or 'Cult Leader Tactics' to achieve your life goals. After experiencing these types
of human behaviours & themes, the album arrives at the conclusion that the only
true answer in life is love.
Paul plays most of the instruments on the album, including lead vocals, guitar &
various Moogs & synthesisers. An album produced with long-time collaborator &
acclaimed producer Paul 'P-Dub' Walton (Massive Attack, The Cure, Bjork) at Loft
Studios, it also includes guest appearances from Porcupine Tree's Steven Wilson
& Gam of the band 'Sweat' as well as featuring a 288- person C.L.T. Lockdown
Choir.
'Cult Leader Tactics' offers a selection of Paul's most focused & ambitious work
so far, a brilliantly dark commentary on an industry he is all too aware of.
Digipack edition with 16-page bookletOn tour across the UK from 27th February
to 23rd March 2022.'Cult Leader Tactics' will be available via Kscope.

Solid olive green vinyl in a regular sleeve with an etched B-side
On their EP entitled perfect, MANNEQUIN PUSSY's new songs burst forth from
the sprawling months of social isolation & internet-fueled anxiety. The band rages
about the practice of condensing your daily life into a manicured stream of
images for social media. What happens to the social impulse when everyone you
love or even like is leveled into a set of pixels. "It was a really weird psychological
experience, being bombarded by images of other people constantly when you are
not around a lot of other people," vocalist Missy Dabice says.
After spending most of the year 2020 apart from each other and everyone else,
the members of MANNEQUIN PUSSY decided to book studio time and work
together in person again. What came out of that compressed session time were
some of MANNEQUIN PUSSY's most furious, incandescent songs yet. The
Philadelphia based band teams up yet again with producer Will Yip to satiate fans
with perfect, the EP follow-up to their critically acclaimed 2019 Epitaph debut
Patience (Pitchfork Best New Music, sold out US tour, and "one of the best rock
releases of 2019" according to Paste Magazine). "We just fgured if we forced
ourselves into this situation where someone could hit 'record,' something might
come out," Dabice says. "We'd never written that way before."

25TH ANNIVERSARY OF GAVIN HARRISON'S DEBUT ALBUM REISSUED
Gavin Harrison has established himself as one of the most revered
drummers in the progressive rock scene in recent years
As a member of Pineapple Thief, Porcupine Tree & King Crimson at one time or
another, as well as guesting on numerous acclaimed recordings, he has secured a
reputation as one of the most thrilling drummers around.
In 1997 Gavin released 'Sanity & Gravity', an impressively ego- free debut solo
release featuring performances from a stellar line-up including Mick Karn, Richard
Barbieri, Jakko Jakszyk (21st Century Schizoid Band) & Dave Stewart (Egg,
National Health). Avoiding making a typical 'solo' drum album as a means of
demonstrating his prodigious technique, Gavin created an expressive & emotional
album that is strong on both groove & melody.
In his own words, "faced with the prospect of making a 'solo' drum album I
decided I would take a more experimental approach to playing my instrument,
rather than make a record of fast fashy solos & flls to try & show off my
technique. I felt there was a way to express emotion from the drums played with
the attitude of "blowing" on a saxophone or "twiddling" around on a piano."
The original album has gone on to gain legendary status in the 25 years following
its original conception with the CD fetching high sums on the resale market.
Kscope is now thrilled to present the album reissued & remastered with an
exclusive bonus track & new original artwork for the anniversary. Essential
listening!
'SANITY & GRAVITY' WILL BE ISSUED VIA KSCOPE

Double BLACK Vinyl, Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments.

24 Songs. A new project from The Wedding Present. A new 7” single every month throughout 2022. 24 Songs sees David Gedge writing with legendary Sleeper guitarist Jon Stewart for the first time, and a more perfect union could not have been predicted. The first release includes a gorgeous duet featuring David and Louise Wener also from Sleeper on ‘We Should Be Together’, and it’s coupled with a rousing new track called ‘Don’t Give Up Without A Fight’ which combines classic Wedding Present feistiness with a Krautrock finale. The notion of a monthly 7” single is not new to The Wedding Present, but 24 Songs shows us that even classic concepts can be reinvented. The series also continues the band’s association with photographer Jessica McMillan, who has created stunning images and films as a visual accompaniment to the recordings.‘We Should Be Together’ will be available to listen to at The Wedding Present’s official YouTube channel from Tuesday 19 October at 12 noon. Subscription details with an early bird incentive can be found at 24songs.scopitones Individual singles and a collector’s box can be ordered from the same site or via all participating record shops. Explaining 24 Songs, David Gedge said: “In 1991, The Wedding Present were rehearsing in a studio in Yorkshire when we hit upon an idea that immediately thrilled us all. Our bass player Keith Gregory had been a member of the ‘Sub Pop Singles Club’ - a service that allowed subscribers to receive 7”s released by that Seattle label on a monthly basis. Keith wondered if we, as a band, could attempt a similar thing. In that instant, The Wedding Present’s Hit Parade series was born and, during 1992, we managed to release a brand new 7” single each and every month. “The Hit Parade went on to become something of a significant milestone in the history of the band and it’s a project about which I’m often asked. As its thirtieth anniversary approached, I began to wonder if we should celebrate it in some way. A ‘Hit Parade Part 2’ didn’t feel quite right, though. Then, someone said to me: “Other bands have released music in similar ways but there has been nothing like the Hit Parade.” And they were right! A 7” single a month seems, somehow, very ‘Wedding Present’. So, inspired by that little idea from three decades ago, we’ve embarked on this new project, 24 Songs. “Even though The Wedding Present have never been known for taking the easy route, the idea of recording 24 tracks and releasing them in this way could seem daunting to any band. However, I’ve been inspired by the music that has been written since Jon and Melanie joined the group. The thought of celebrating this exciting new line-up with an exciting new series has motivated us all… and I suppose we also didn’t want any of these songs to be hidden away in the middle of an album!”

Press confirmed to run on this includes a lead full page review in Uncut and a boxed out review in MOJO. The Guardian are also running a feature with interview & much more tbc. Optimism is the debut album from Jana Horn of Austin, Texas. Originally self-released in a small vinyl edition, now widely available. Horn says the LP, "seemed to come about indirectly, almost in passing, a feeling of being in-between things. I was really mobile at that time, living wherever... I had just discovered, late, Raymond Carver Broadcast, Sybil Baier, Annette Peacock, Richard & Linda Thompson, a short story called “Car Crash While Hitchhiking” by Denis Johnson. I had “Heart Needs a Home” in mind, “The Great Valerio;” I was just really moving through the world, hanging in the shadows of the people I wanted to be. Hoping, looking out, this is Optimism. I was looking for anything."

Many of you will be aware of the band Homegrown Syndrome (we released the single a few years ago). They were also known locally as Homegrown Funk & the band Memphis that put out one extremely rare two sider. A party Side 'Shake and Rock' flipped with a top of the rung ballad 'Inside My Love', it has everything collectors want, Rarity & Quality so sells for 500+ all day long, below Robert Garcia gives us the history....

"Memphis" were members of the Memphis based group "Home Grown Funk." Home Grown Funk was also known as "Homegrown Syndrome," a controversial name bestowed to them. Before heading to LA they gigged all over Memphis. Some of the members were from an earlier 70s group called "Brothers Unlimited" and had earlier ties during the 60s with the "Memphis Invaders" (a peaceful civil rights activist group).

With aspirations of pushing Homegrown further, a few members including Jerry Jones made the move out west. It was LA 1977 when they were introduced to Ike Tuner through a mutual friend "Ricky G". It was a casual meetup. Then one night Ike had his son Ike Jr. go check them out while performing at the Soul Train hangout spot "Maverick Flats". Ike Jr. praised their performance to Ike and he had them come out to his Inglewood studio. The group walked into the studio with a funky track already playing and that's when Jerry Jones improvised this opportunity and started singing. Ike then turned and said… "Who is that singing?" Jerry said, "Thats me." Then Ike replied " YOU BIG MUTHAF***A! You could be my new Tina." From that point the group cut bunch of tracks with Ike over the years up until they're feature on his 1980 album "The Edge."

In 1981 Perry Kibble (Keyboardist for Taste Of Honey) was at "Concerts In The Park" and heard Home Grown Funk performing. He linked up with the group and got them a deal with Arista. During this time they recorded their hit track " Confrontation." Perry suggested that the group change their name because he didn't want another group with the work "Funk" in it and hence "Homegrown Syndrome." They also use the Arista studio to cut an unreleased acetate with tracks "Got the love" and "Party Vibes" soon to be reissued on ATON.

Around the same time they were introduced to a fella named Roger Green. Green asked the group to come over to his home studio to cut the track "Inside My Love." Upon naming the record Roger Green suggested to go by "Memphis" since they were all from there. This record was eventually pressed in 1982 as small run becoming extremely hard to find.

Words by: Robert Garcia

MOMENTS LIKE THESE, THE NEW ALBUM FROM SUBWAY SECT, PRODUCED BY MICK JONES AND FEATURING THE 1981 SUBWAY SECT LINE-UP, VIC GODARD WITH SEAN MCLUSKY, CHRIS BOSTOCK, JOHNNY BRITTON, & DC COLLARD and guest appearances by MICK JONES, PETE WILLIAMS, TERRY EDWARDS and SIMON RIVERS. Sukhdev Sandhu runs a publishing imprint Texte und Töne in New York.

The LP, the imprint's first, is also the first-ever Subway Sect record to come out in the States. (Perhaps unsurprisingly: they did have a song called U.S. Cunts!) It's been produced by Mick Jones of The Clash. (A White Riot '77 reunion of sorts.) ‘There’s a certain element of unspoiltness about the whole thing and that’s what really appealed to me about it.’
Mick Jones MOJO ‘This is Vic reflecting on a lifetime in the music business. It sounds like a record that he had to make and is perfect for now. When I was a kid, I used to make up my fantasy punk band with members from different bands and they almost always
contained Vic Godard and Mick Jones. The songs are as good as it
gets and with Mick Jones producing and playing piano, what more do
you need?’ Jim Reid, Jesus and Mary Chain ‘The Subway Sect story is one of the strangest, and therefore one of the best. Vic Godard indicated ways that pop should go. He dropped hints, left clues. It is all there.’ Kevin Pearce ‘Vic's always walked his own path. He's a model of independence.

No wonder that he's recorded for some of the best UK independents
(Rough Trade, el, Postcard). Years ago, when I was writing a book
about nocturnal London, he took me on a postal round with him, all
the while telling me funny stories about some of the prog rock
aristos whose mail he delivered, and enthusing about the latest hip
hop and bhangra he was listening to.

Asked by Time Out to write an essay about my favourite Londoner, I wrote it about Vic. Now, in summer 2021, I'm very happy to help release Moments Like These. It's about thinking back and thinking forward, about walking your own path. It's got soul, swagger and swing. Vic Godard: always onward!’ Sukhdev Sandhu ‘It was an accident really as Sukhdev wanted to put What's the Matter Boy out until I told him I'd just recorded a new LP. I'd been in discussions with loads of record labels but they all wanted to get my back catalogue digital rights and weren't into the idea of putting out a new LP. I thought it was on course to be my 2nd lost album until the phone calls with Sukhdev.’ Vic

Many of you will be aware of the band Homegrown Syndrome (we released the single a few years ago). They were also known locally as Homegrown Funk & the band Memphis that put out one extremely rare two sider. A party Side 'Shake and Rock' flipped with a top of the rung ballad 'Inside My Love', it has everything collectors want, Rarity & Quality so sells for 500+ all day long, below Robert Garcia gives us the history....

"Memphis" were members of the Memphis based group "Home Grown Funk." Home Grown Funk was also known as "Homegrown Syndrome," a controversial name bestowed to them. Before heading to LA they gigged all over Memphis. Some of the members were from an earlier 70s group called "Brothers Unlimited" and had earlier ties during the 60s with the "Memphis Invaders" (a peaceful civil rights activist group).

With aspirations of pushing Homegrown further, a few members including Jerry Jones made the move out west. It was LA 1977 when they were introduced to Ike Tuner through a mutual friend "Ricky G". It was a casual meetup. Then one night Ike had his son Ike Jr. go check them out while performing at the Soul Train hangout spot "Maverick Flats". Ike Jr. praised their performance to Ike and he had them come out to his Inglewood studio. The group walked into the studio with a funky track already playing and that's when Jerry Jones improvised this opportunity and started singing. Ike then turned and said… "Who is that singing?" Jerry said, "Thats me." Then Ike replied " YOU BIG MUTHAF***A! You could be my new Tina." From that point the group cut bunch of tracks with Ike over the years up until they're feature on his 1980 album "The Edge."

In 1981 Perry Kibble (Keyboardist for Taste Of Honey) was at "Concerts In The Park" and heard Home Grown Funk performing. He linked up with the group and got them a deal with Arista. During this time they recorded their hit track " Confrontation." Perry suggested that the group change their name because he didn't want another group with the work "Funk" in it and hence "Homegrown Syndrome." They also use the Arista studio to cut an unreleased acetate with tracks "Got the love" and "Party Vibes" soon to be reissued on ATON.

Around the same time they were introduced to a fella named Roger Green. Green asked the group to come over to his home studio to cut the track "Inside My Love." Upon naming the record Roger Green suggested to go by "Memphis" since they were all from there. This record was eventually pressed in 1982 as small run becoming extremely hard to find.

Words by: Robert Garcia

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.

Warm presents a brand new compilation called 'Home'; a soundtrack for when we pause, take a breath, and use our senses to explore the magic of the world on our doorsteps. Morning to evening, dawn to dusk, our lives continue moving but sometimes the need to step back and reset is essential to create a balance in our lives. As we open our eyes and ears to our surroundings, our senses become stimulated by small details. Whether it be the sound of the sea lapping on the sand, the wind blowing through the canopy of trees or a robin heralding a new day; nothing is the same but all are unique.

'Home' has been pieced together over the last year by Warm’s Ali Tillett. With the majority of Warm - booking agents for Colleen ‘Cosmo’ Murphy, Gerd Janson, Horse Meat Disco, Hot Chip DJs, Lou Hayter, Luke Una - on pause, Ali took the chance to immerse himself in bringing together his passion for music, nature and art.

The 14 tracks, the majority exclusive and specially made for the compilation, includes contributions by Âme, Bobby Lee & Mia Doi Todd, Coyote, Crack’d Man (aka Crooked Man who produced Roisin Murphy's last album), Fug (with their first material for over ten years), Kirk Degiorgio presents As One, Turtle, and Ewan Pearson's World of Apples project (with their first material for nearly 20 years!). The tracks align with specific habitats in the local Dorset area, where Ali is situated, such as Harbour/Estuary, Heathland/Moorland, Woodland/Forest, and Beach/Cliffs.

To immerse the listener even further into the soundscape, critically acclaimed sound and field recording artist Gary Moore, of Springwatch/Autumnwatch fame, has been involved to help bring nature even further to the ears. Intertwined between the music are field recordings specific to area and habitat; whether it be the sound of a ship's horn in Poole harbour, avocets on the scrape, the tawny owl in the woodland or Puffins on the ledges of cliffs.

Gareth Fuller, a fabulous artist who previously lived in Dorset, has kindly allowed one of his artworks to become the centrepiece for the compilation. Titled 'Purbeck', it's a truly wonderful piece of art that encapsulates everything about the area and enables an added dimension to the immersive experience for the listener.

Robert Stillman's much-loved, homespun collection of Fender Rhodes improvisations receives the vinyl treatment from Kit Records.

Recorded to tape in the solitude of Robert's Kent studio, PORTALS is truly a candid window into the trance-like process of making: melodies, ideas and themes are added folded, concealed and revealed like layers of paper and paint, combining to form an intimately transportive sonic mural.

Most startling are the shifting voices of the Rhodes - from careening, glassy pads to strident basslines, curveball jazz breakdowns or kaleidoscopic marimba flutter. Keys players take note: PORTALS is a masterclass in restricted virtuosity. Quite how so many worlds are conjured from one instrument across the 35 minute duration of this record, we're not sure.

Recommended if you like Beverly Glenn-Copeland, Arthur Russell, Kali Malone. This vinyl edition of Portals features a previously unreleased track, 'PORTAL 8'.

Robert Stillman is a composer and multi-instrumentalist from the northeast United States. His music juxtaposes the archaic with the futuristic, incorporating influences of Jazz, Minimalism, American Folk music, and experimental electronic music to create a sound described by the Guardian as "lending an avant-garde shimmer to pre-modern American sounds."

• Harold Melvin & The Blue Notes; one of the most successful worldwide cross-over hit-making soul groups of the early to
mid-1970s.
• Having signed to Philadelphia International Records under the watchful eyes of Kenny Gamble and Leon Huff, the band
featured the raspy golden tones of the late, great Teddy Pendergrass. Between 1973 and 1977, they had six UK Top 40 hits.
• After leaving PIR and recording two albums for ABC, they ended the decade recording an album on Logan H. Westbrooks
label, Source Records, which gave prominence to the Group’s long-term singer, Sharon Paige.
• “The Blue Album” spawned three Billboard R&B Chart Hits, including ‘Prayin’ and ‘I Should Be Your Lover’, whilst the
album hit the main Billboard Album Charts.
• Keeping with the contemporary soulful vibe, three of the tracks were written by McFadden & Whitehead during their own
hit Singles period, with the other tracks penned by Gamble & Huff, Alicia Myers and Kevin McCord (from One Way) and
James Mitchell.
• Make no mistake, this is no second-rate album! This is forgotten gem that heralded the Group into the 1980s, during which
they resurrected their chart career with two further albums, ‘All Things Happen In Time’ (1981) and ‘Talk It Up (Tell
Everybody)’ (1984).
• This is the first vinyl reissue of ‘The Blue Album’, since the album was initially released.

yellow vinyl

“Steve Albini’s all-analogue production and the contribution of guests...add heft and texture to sounds that combine Sunn O)))’s customary force with a subtlety that can be astonishing. More mellifluous than menacing despite its formidable display of power. Life Metal may be the richest work in the band’s 21-year mission to reconfigure Tony Iommi-worthy riffage into a soundtrack for mindful meditation.”

Brand new Sunn O))) album recorded by Steve Albini.

Sunn O))) are pleased to present Life Metal, their first new studio album in four years, due for release on Southern Lord in April 2019. The album will be supported by their first European tour since 2016, including their first ever French tour - dates and details below.

AVA. Records celebrates its 10th anniversary with 52 artists. “10 Yahre” is a 4LP compilation housing 22 tracks, a printed 30 pages magazin and a mixed CD. All wrapped in a custom made silkscreen sleeve, also including a textile keychain and stickers. Sonically spanning from ambient to techno, 10 Yahre carries new and exclusive material, all woven around the label’s decade focus on dance floor culture, started 2011 in Cologne, Germany.

The 4LP vinyl includes music by: Am Kinem, Andy Hart, Axel Boman, Cinthie, Damiano von Erckert, Dman, Dogpatrol, форм, Jürgen Ratan, Jus-Ed, Lauer, Lowtec, Move D, Paingel, Paradise Grey, Retrogott, Robi, Ron Trent, Sinoesin, Tito Wun, U-I, Will Saul and Wolfey.

The mixed version of the entire compilation is contributed by Sally C.

The full color magazin and video includes works by: Alina Bader, Andy Kassier, Angel, Anna Beil, Ata Macias, Bailey Keogh, Damiano von Erckert, Dirk Jeans & Lou de Bètoly, Funkycan, Guido, Jana Marei, Jana Maria Dohmann, Joana Pratschke, Johannes Wohnseifer, Juri Bader, Kuchenbaum, Manuel Fischer, Maria Sécio, Martin Fengel & Public Possession, Mathias Schmitt, Maximilian Schweizer, Michael Satter, Naum Hirsl, Nicolas Wenz, Peter Wolff, Rein Vollenga, Rucksack Leer, Stelan Mergenthaler, Suzanne Caroline de Carrasco, Twit One and Yves Taron Harouche.

Compiled by Juri Bader and Damiano von Erckert, mastered by Enyang Urbiks. Design and concept by DVE 1989.

From his early days in 90s collective KMD to his reinvention as a masked supervillain leading the indie hip-hop revolution, MF DOOM has consistently pushed the boundaries of hip-hop in new and unexpected directions. While DOOM's lyrical genius is well documented, he has quietly become an important figure behind the boards as well. DOOM has always produced his own music, and in the early 2000s he released the acclaimed ten-part Special Herbs instrumental series, introducing the world to the dusty, lo-fi loops that define his production aesthetic. In the years since, DOOM has supplied soundscapes for Ghostface Killah's classic Fishscale album, produced an entire album for Masta Ace, and witnessed a new generation of emcees (including Joey Bada$$, Capital STEEZ, and Bishop Nehru) using Special Herbs beats on their breakthrough mixtapes. Now, the villain is putting the spotlight back on his production with the official vinyl release of Special Blends, Vol. 1 & 2. Originally self-released in extremely limited quantities back in 2004, Special Blends Vol. 1 & 2 pairs vintage DOOM-produced Special Herbs instrumentals with classic hip-hop and R&B vocals. Mixed by DOOM himself, this collection incorporates vocals from a wide range of iconic records. Special Blends Vol. 1 & 2 is available in standard 2XLP vinyl format, as well as a deluxe version inside a custom-printed burlap bag.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

The acclaimed Kito Jempere joins Cherrystones and DJN4 on the label for 2020, with an album full of international minds. Working with array of collaborators across a cast of friends including Jimi Tenor, Wolfram, Hard Ton, Lipelis, Rich Thair (Red Snapper), Ruf Dug, Cedric Gasaida (Azari & III) and many more, presenting this, his third long play.

A hail of freedom of thoughts and voices before these changed times, recorded and shared across continents. Kito - following releases with DFA, Lo Recordings, Bordello A Parigi, Hell Yeah and Duca Bianco - acts as curator rather than conductor, the idea not to transform the contributions but allow them absolute.

Sending music and receiving back, nothing was touched to keep the truth and honour. From Tokyo to London, Berlin to his base in St Petersburg, trusting the chosen artists led to a broad palette, as his 4/4 driven funk expands with Jazz horns to Motorik percussion, Avant-Reich vocals to White Isle melodies, J Pop Balearics to Chanson stories wrapped around Club memories.

A true world meeting, crossing borders and genres. An eye on the dance floor and week long chill outs. With remixes from the likes of Samo DJ, Lipelis, Cable Toy and more to follow, this is more than Yet Another Kito Jempere Album.

Industrious Polish DJ, producer and live performer Szafran is summoned to Thabo's Berlin-based house imprint Home Again, debuting a new alias and sound in his arsenal as he reaches the spaces between house, breakbeat and acid house. The label's third release, Thabo grabs revered Parisian producer Leo Pol for a killer remix.
Previously releasing and performing as Oskar Szafraniec, he broke through under the mentorship of acid house legend A Guy Called Gerald, touring extensively together and developing his live show. His releases have come through notable labels Rawax, Deset and Cyclo, while collaborations with heavyweights Ricardo Villalobos and Pier Bucci brought more discerning ears, and basing himself in Berlin ensured that he'd play across the city's hallowed haunts, including Club der Visionaere, Watergate, Tresor and Salon zur Wilden Renate.

"After eight years in Berlin, I relocated to Croatia's Dalmatian coast last year. There was the enforced break from touring, but I also took a break from producing. I wanted to step back and find new inspirations. I was listening to a lot of Warp Records, feeling hugely inspired by the melodies in Aphex Twin and Squarepusher's '90s releases. My musical direction changed and I wanted to present these influences with my own touch. I feel my music is more emotive through the way I'm contrasting analogue, digital and organic elements and I hope people feel that." - Szafran

Packing punch and propulsion in equal measure is 'It's Just A Feeling', a striking, emotive track that cuts through with the sonic signature of the Roland TB 303. Prolific mastermind Leo Pol picks up the pace, giving the track a rerub with all the bang and bustle to vitalise a dancefloor. Prodigious outing 'You Don't Know' enters the field full of vigor with the breakbeat drum loops and 4 X 4 kick drum sequences giving it a propulsive, rousing pace, while 'Infuse' reaches through and closes the EP with a laidback flex.
Artwork by Ken Hanamura

Includes A3 poster print by Frank West . . .

Welcome denizens of disaster, one and all - please make yourselves uncomfortable.

Did anyone ever tap you on the shoulder as you were walking through an unfamiliar land, just to tell you to watch where you’re going? In this interlinked age of protocol-onies and networked nations, the only territory you can’t rely on is your own state of mind.

Mapped-out by a series of second guesses and double takes, Catastropheland is the one place you’re welcome to try and expand your diminished reality. In Catastropheland, the road signs are all traps, the charts are the wrong way round, the jokes fall flat, and it always rains upwards.

Meanwhile, nine tracks of virtual shapes are bounced off the dishes of an orbiting Syncom 7 and beamed straight into your personal space. The quest for the augmented self might not lead to the results you expect, but as a citizen of Catastropheland, your residency permit is never up for review, and you’re only a shipwreck away from being washed-up on a melting shoreline.

The music was performed by Montel Palmer in Cologne during summer 2018

Mastered by The Bastard

Described by his peers as a keystone in ambient-electro, Datassette is a bastion of the underground and one of alternative electronic music’s most exceptional and enigmatic talents.

His extensive and diverse discography spans two decades and includes a plethora of albums, EPs and remixes for independent record labels, including: Ai Records, Apollo/ R&S, Wall Of Sound, CPU and Shipwrec. His work and creative output also extends to the design of music libraries for TV and radio; producing sound effects for 8-bit video games; working as a graphic designer and co-running the Misc label.

Datassette has never been shy of creating complex, addictive and emotive music and this magical music formula is replicated on Sentinel, his new EP for Lapsus Records.

As is emblematic in his long-standing career, Datassette demonstrates a healthy non- conformist approach to conventional labels and pigeonholing. By using a combination of powerful vintage hardware and latest generation digital techniques, the British producer continually manages to redefine his sound. This new four track EP sees him fuse dub, electro, braindance, ambient, experimental electronica and even abstract hip hop.

The Senior Service returns with a brand new 10” for 2022. A year or so ago, The Senior Service decided that it wanted to add a little more to its well-honed instrumental sound. On one slightly drunken night out, they approached local songwriter and chanteuse Rachel Lowrie and asked if she’d like to perform guest vocals on some specially written new material. By this time, Rachel had supplied impressive ‘pipework’ on quite a few Medway records so the band was confident that she’d be able to deliver – the band was right.
Following a lengthy hiatus in activity due to lockdown restrictions, The Senior Service was finally able to get together to record the new songs, so they piled into Ranscombe Studios to crack on. It soon became apparent that they’d lost none of the chemistry that had made them such a powerful musical collective and the instrumental backing tracks were laid down with relative ease. It was when Rachel arrived and sprinkled vocal sugar over the tracks that they really began to shine! Intuitively, she understood the approach needed and delivered a made-to-measure performance for each song. this collection includes four original tracks penned by the band plus two rollicking covers of lesser-known instrumentals; John Schroeder’s take on ‘Lovin’ You Girl’ – a slinky slice of lounge grooviness, given a slightly chunkier sound, informed by the band’s musical aesthetic, and ‘Mysterious Land’ – The Chris Lamb Orchestra’s little heard filmic masterpiece; a track seemingly tailor-made for the band to get its musical chops around. So, we invite you to spend ‘A Little More Time with The Senior Service’.

Translucent red LP housed in a beautiful gold mirror-board sleeve with large Thundercat logo hologram sticker and gold holofoil detail. Includes two bonus tracks: ‘$200 TB’ and ‘Daylight (Reprise)

Vinyl only (no digital) 2021 Black Friday release

If indeed "you blows who you is," as Louis Armstrong once famously said, then Stephen Bruner's bass is a mainline to the soul of a man whose DNA was transcribed from the stars onto staff paper. His Flying Lotus-produced debut, The Golden Age of Apocalypse, offers both stone-cold skill and uncanny astrality, picking up where the pair left off on 2010's Cosmogramma and further distilling the jazz current running through that landmark Lotus release. A longtime contributor to others' albums, Bruner, aka Thundercat, is accompanied by an impressive cast ranging from Erykah Badu to members of Sa-Ra and J*DaVeY, to pianist Austin Peralta and his own Grammy-winning brother, drummer Ronald Bruner, Jr. Still, the end result is unmistakably a Thundercat record -- a lush and magical document combining classic jazz fusion, futurist electronic strains and timeless musical seeking.

Spanning a cosmic stew of players, locations and times, The Golden Age of Apocalypse was years in the making. . There's the ebullient "Daylight," a soft whirl of bluesy piano, New Age synth, snapping beats and warm bass. There's "Walkin'," an upbeat soul strutter powered by Bruner's digitally distorted plucks. There are raw, improvised numbers like "Jamboree" and virtuosic bass pileups like "Fleer Ultra." One of the album's most stunning moments arrives with a spacious cover of George Duke's "For Love I Come," a taut beauty spangled with crystalline harp and keys. Bringing this string of divinely unexpected moments to a moody and cinematic close is "Return to the Journey." There, Bruner sings, "Time will pass us by," but listeners needn't worry. Inside of this space, time really isn't a thing.

'The second pressing of Mountain Caller's debut album 'Chronicle I: The Truthseeker' is limited to 500 copies, cream vinyl housed in a single sleeve with printed inner, plus a full download.' Mountain Caller are ready to engage hyper-drive and launch their debut album into the riff time continuum. Mountain Caller are El, Claire and Max and hail from London. They describe themselves as a heavy progressive instrumental three-piece, who are driven to tell stories with music and want listeners to conjure up cinematic scenes in their minds. And that they do … in spades. If one needs a sonic ballpark, think the infectious jamming of Elder and the dynamic cinema-scapes of Mogwai, underpinned by the mantric riffs of Sleep. A rich amalgam of Progressive Rock, Post Metal and Doom. Nevertheless, Mountain Caller do succeed in weaving their own unique spell. The band are already buzzing, pricking up the ears of those in the know, and now after two years honing their chops with a clutch of immersive live performances under their belts (including a slot at Desertfest) Mountain Caller are ready to bring you their debut album. Chronicle I: The Truthseeker. Recorded in January of 2020 at No Studio in Manchester by producer Joe Clayton of Pijn, and mastered by Magnus Lindberg of ‘Cult Of Luna’. For the band, it’s a labour of love; the fruit of three years of jamming, crafting, and conceptualising; a collaborative piece, where each instrument takes centre stage, within a heady mix of chasmic riffs and panoramic, reflective soundscapes. Chronicle I: The Truthseeker is a feminist allegory created in tandem with the music. As the band describe it … In The Truthseeker, we join The Protagonist at the edge of the Twilight Desert, compelled by an indefinable but urgent need to set forth on an Odyssean journey to rediscover her memory and her voice. Over the course of 42 minutes, we travel from barren wastelands to mysterious cities, encountering trials of both body and spirit. It is indeed a 6 track instrumental journey. Full of winding roads, brooding valleys and strange encounters, all vividly evoked by a canny grasp of dynamics, melody and heavy, but hooky riffs, executed with peerless playing. 'Journey Through The Twilight Desert' opens the album in soundtrack mode, and develops in weight and riff (as if Goblin have taken up the baton) and closes in a full wide screen Mogwai trip .... and that's just the opening track. Elsewhere Mountain Caller pushes to noisier, heavier groovier places. Whether it’s the chiming guitars on the Krautrock/post-rock groove of 'I remember Everything' or 'Trial by Combat' and its doom meets Deftones vibe. To album closer 'Dreamspirals' with its melodic hooks and huge earworm riffs, it’s an album that more than stands up to listening on repeat as there plenty to discover.

10” black vinyl with download code. File under: Indie, UK. It’s been four years since we last heard from Tigercats, with the 2018 album Pig City marking the expansion of their sonic palette from indie-pop and alt-rock, to include highlife, afrobeat, and scuzzy West African psych. The New Works EP is another step into the new for Tigercats, the sound of an increasingly political band, unbound by the records they’ve made previously, and enjoying the freedom of exploring and experimenting for these 5 new tracks. “We’ve been a band over 10 years and it felt like all of our previous recordings have been leading up to this one. After Duncan switched from guitar to kalimba a few years back, and we welcomed a horn section into the line-up, the sound has been getting denser and grittier, particularly live. With this recording we’ve finally managed to capture some of that energy on record.” The opening track New Work, a song about the relentless tyranny of labour in the 21st century, grows from the synth bass riffs and riotous brass lines with production inspired by industrial techno like JK Flesh, to display lyrical ferocity not often heard. The Space came together completely improvised in the studio, and reflects on the fight for space to create art - in a world fighting for your attention 24-7, and the depletion of available arts spaces. The intensity subsides for The Picture, a track whose origins date back to the writing of the band’s second record. More reminiscent of Tigercats’ indie credentials, drawing on the textures of Low or Yo Lo Tengo, it is developed here by a band confidently hitting their stride. New Works was written in 2019 and recorded at Lightship 95 on the Thames, and at Big Jelly in Ramsgate. Originally scheduled for a spring 2020 release, we’re excited to finally bring you these 5 tracks and the promise of a return to blistering live shows from Tigercats. Tigercats are a kalimba-led psychedelic pop band from East London. Having honed his songwriting craft in the short-lived but much much-missed Esiotrot, in 2010, Duncan Barrett went about forming a new band and recruited sibling/long-time producer Giles Barrett (bass), talented songstress Laura Kovic (keys), as well as Paul Rains (guitar, of Allo Darlin’). The band have performed throughout the UK and Europe and have supported The Wave Pictures, Allo Darlin and Darren Hayman among others. They have also performed at the End of the Road and Primavera Festivals and have appeared on Spanish TV (RTVE Radio3) and Indietracks. A tour of the USA and Canada included a headline appearance at NYC Popfest. New Works harks a return to Fika Recordings, having released the debut Tigercats album Isle of Dogs back in 2012, bookending albums with Fortuna Pop! (2014’s Mysteries) and El Segell Del Primavera (2018’s Pig City). Tigercats are: Duncan Barrett - Vocals, Kalimba. Giles Barrett - Bass, Production. Laura Kovic - Keys, Vocals. Paul Rains - Guitar, Vocals. Will Connor - Drums, percussion. Seb Silas - Baritone saxophone. Meridyth Dickson - Alto saxophone. Thom Punton – Trumpet.

Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. FFO: OMEGA TRIBE, CRASS, EXIT STANCE, ALTERNATIVE

Angel Olsen covers “Something On Your Mind,” while Karen Dalton’s version is found on the flip.
The latest release in Light in the Attic’s 7" Covers Series.
Artwork by Los Angeles-based fine artist Robbie Simon.
Pressed at Third Man Pressing. Non-Returnable.
Didn’t you see, you can’t make it without ever even trying? — Dino Valenti, lyrics from “Something On Your Mind”
Light in the Attic is honored to be releasing Angel Olsen’s gorgeous cover of Karen Dalton’s moving interpretation of ‘Something On Your Mind,’ a song that enduringly underscores the unspoken thoughts, painful truths and buried emotions between people and within oneself. Thematically, the song is universal and resonates as much with listeners today emerging from a post-pandemic world as it did for Karen Dalton when she first recorded it in 1971 for her second and final studio album, In My Own Time. “‘Something On Your Mind’ for me is about letting yourself face something that keeps setting you back,” says Angel Olsen, who has come to the forefront of Karen Dalton appreciators around the world, both in her contribution of this new interpretation and as the voice of Dalton’s personal journals in the recent documentary, Karen Dalton: In My Own Time. As part of the latest installment of LITA’s long-running cover series, Angel’s cover is found on the a-side, while the flip includes Karen’s 1971 version.
Previous singles in Light in the Attic’s Covers Series includes musician, poet, and author Leslie Winer collaborating with Manchester-born composer Maxwell Sterling on a truly gorgeous cover of Tim Buckley’s 1967 forlorn love song “Once I Was,” Bill Callahan & Bonnie ‘Prince’ Billy covering Johnnie Frierson’s beautiful and inspiring tune “Miracles,” BADBADNOTGOOD with Jonah Yano covering “Key To Love (Is Understanding)” by Milwaukee’s funk/soul pioneers Majestics, Charles Bradley & the Menahan Street Band covering Sixto Rodriguez, Mac DeMarco covering Haruomi Hosono’s “Honey Moon,” and Iggy Pop with the Zig Zags transforming Betty Davis’ dirty funk into a heavy Sabbath grind, amongst many others.

The highly anticipated debut album from Franco American conductor/composer/arranger. Uèle Lamore specializes mixing orchestral and acoustic textures with modular, electronic and synthetic elements. Not just affiliated to classical music, she likes to dive into the fields of composition and arranging through many musical styles: electro, new wave, rock, techno, minimal, neo-soul and many more that are left to explore leaving an infinite range of possibilities. The ten album tracks were composed and produced by Uèle Lamore herself and include 3 features from English speaking artists including Gracy Hopkins, who featured on the critically acclaimed The First Tree. Previous collaborations include Radiohead, Frank Ocean, Jonny Greenwood, Steve Reich, Terry Riley, Thom Yorke, Mica Levi, Beck and many more. Promo/marketing activity.

Brion Starr lives and works in New York City, joined by a group of foreign and domestic collaborators. Their latest album 'A Night To Remember' is a meditation on night itself, a spinning sci-fantasy through this future darkness we all contemplate, a journey to the end of the night told as a story of one evening in an internationalist future city with no up and no down, no beginning and no end. Passing through the seedy clubs, with all their trappings, when the night is just turning into morning. Have you lost your mind? Blackout and wake on a train. Is this a dream? We are nocturnal. There’s fire in the streets. The first tier looks down on you. So find the ones you love and hold them tight.
Recorded at the Chateau d’Herouville and produced by Tony Visconti (David Bowie, T. Rex, Sparks).
Starr’s current collaborators include Jaie Gonzalez (Splashh), Hayden Tobin (Hanni El Khatib), Pete Sustarsic (Public Access TV), James Hurst (Beach Party), Ben McConnel (Beach House), Grace Kennedy, Charlie Sands, and composer Nigel Wilson.
“We had a listening party when we finished, Tony was so happy that day, he told me he hadn't had a listening party in "probably 30 years" (and we were in the middle of the pandemic!) I smile when I think of him suggesting we do it. It was a true celebration, I still have the cork from the champagne!”

Emigrate. The one-time project has become more than that. Much more. The three studio albums, EMIGRATE (2007), SILENT SO LONG (2014) and A MILLION DEGREES (2018), prove that squarely behind Emigrate stands Richard Zven Kruspe – an extremely creative mind who needs the freedom to explore his music and his vision in ways outside of Rammstein. With Emigrate there are no limits, no barriers. Everything is possible, nothing held back, and it’s this ethos that underlines THE PERSISTENCE OF MEMORY, the new studio album, set for release on November 5th. THE PERSISTENCE OF MEMORY is a special jewel indeed, with the nine featured songs bringing together ideas that Richard has collected across the last two decades. Industrial Rock, Rock with electronic elements, however you choose to describe it, there’s no question that the songs here always contain a strong sense of melody, as rousing as they are deep. At one stage, it seemed that the tracks might be part of a bigger project – a vinyl box set of the first three albums with an additional LP included. On this bonus LP would be a selection of unreleased songs dating from 2001 right through to 2018. In the end, however, this material was considered too precious to sit beneath the ‘bonus’ heading, so THE PERSISTENCE OF MEMORY was born... Richard reacquainted himself with his hard drives, coming across ideas, songs and lyrics that deserved to be brought into the light, material too good to remain in the archives. He threw himself fully into the task at hand, as he always does, working on the basis that "A good idea remains a good idea”, and if he felt that there was more to be gained he was open to taking another look at the arrangements and the lyrics; new parts were also recorded here an’ there, after which the entire mix was given a fresh polish, ensuring that the nine songs have a contemporary yet timeless coat of paint. This time, Richard tried to keep things as simple as possible, allowing the creativity to flow, keeping his sights firmly set on pure, raw Emigrate songs. Says Richard: "These songs were created at a certain point in my life, but ideas don't have an expiration date. Sounds, lyrics and themes, on the other hand, do." "Freeze My Mind", for example, is one of the first Emigrate songs ever written, going right back to 2001. Now, 20 years later, it sounds fresh, of the moment, yet Emigrate through & through, something that is true of the album as a whole. Some of the elements are forged in a familiar heat, but these are married to new ways of working, new influences and challenges.

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Travelling Without Moving; long considered one of Jamiroquai’s most
popular albums and the best-selling funk album of all time celebrates it’s 25th year in 2021 with this special heavy weight coloured vinyl release.

Originally released in September 1996, the album features seminal hits ‘Virtual Insanity’ & Cosmic Girl’ which helped catapult it to #2 in the UK charts and Jamiroquai into the limelight globally.
This edition includes an updated sleeve for 2021, new liner notes by
Jamiroquai frontman JayKay and the Dimitri From Paris Remix Radio Edit of Cosmic Girl, previously only available physically in limited numbers on Dimitri From Paris’ own label.

Miles Kane is back with brand new album 'Change the Show', set for release on 21st January 2022 via BMG.
Following a chance “no frills session” with psych-rock duo Sunglasses For Jaws at the band’s Hackney studio, Miles’ fourth solo album ‘Change the Show’ really began to take shape. “I saw myself in their energy, but also their taste and their knowledge of music,” Miles explains. “It was the first time I’d felt old!”
Opening with the honest soft croon of ‘Tears are Falling’, the album is a joyous ride from start to finish and features a surprising, but spectacular appearance from Grammy-nominated singer Corinne Bailey Rae for a duet on ‘Nothing’s Ever Gonna Be Good Enough’. ‘Don’t Let It Get You Down’, the first track released from the record, is Miles Kane at his very best: energetic, infectious and full of swagger, the track opening with a sample from fellow Wirral alumnus Paul O’Grady. It's an album that best represents Miles himself: charmingly authentic, and like nothing else you'll hear in pop music today.
“This album was born out of an intense period of self-reflection; having all this unexpected time on my hands,” Miles said of the last 18 months. “I wrote songs about big highs, big lows, daydreams, true friends and deep feelings. I learnt to let the future unfold of its own accord, while staying true to myself and that has led to what feels to me like a really uplifting album!”
A record for fans both new and old, ‘Change the Show’ is the Miles Kane album we’ve all been waiting for. The apotheosis of his previous works, incorporating those classic rock and glam influences, but focusing more closely on Motown, soul, and Fifties R&B.

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name.
Fascinated by the music of the Cuban orchestras broadcast on the radio and the colourful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born…

"El Negro Bembón con la Sonora MAG" includes, with the only exception of the instrumental track 'Té Para Dos', mostly vocal songs -guarachas and boleros- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on 'Pepito' the biggest hit of the album.
This album is currently almost impossible to find in its original edition, so we are now happy to present the first ever reissue of "El Negro Bembón con la Sonora MAG" in its original artwork and 180g vinyl pressing.

You might know Barnt as one of the people behind the idiosyncratic imprints Magazine and Schalen, through which he released his most of his EPs and the incomparable 2014 debut album, Magazine 13.; or maybe you know the thread of beautiful, unpredictable club hits he’s woven with labels like Cómeme and Hinge Finger.

Despite living in Cologne, and being friends with the label, Barnt has not put out anything on Kompakt yet, apart from an one-off appearance on Pop Ambient 11 over a decade ago. An EP had been in the air for several years, but it took Barnt a bit of time to get into the right state of mind, because he wanted to make sure the music paid tribute to “the ceremonial, emotional, grand sprit” that he connects with Kompakt.

Typical to the producer’s modus operandi, ProMetal Fan Decor Only Product spins out a surprising narrative, catching the listener unawares, while remaining fundamentally Barnt. After the elegiac opener “Fan”, stately in its melancholic, epic flourish, “You Know What’s Gone” stomps into earshot, the pounding thud of the drums pinning clanging patterns to the dancefloor, a Sturm Und Drang symphony, the tones all clashing metals and silvers.

After that, there’s release – the hypnotic psychedelic reels of “This Is For Decor Only” are Barnt gone trance, a sensual glide of a track that pirouettes out an eternity of sizzling hi-hats and strip light melodies. While you might want to be alone when listening to “Fan”, you might have the time of your life dancing to “This Is For Decor Only”, played by your favourite DJ at your favourite festival this Summer.

With ProMetal Fan Decor Only Product, wrapped in a sleeve by artist Lukas Heerich, Barnt and Kompakt finally come together, equal parts refined elegance and sweaty fervour.

Eine Reihe von inspirierten Begegnungen zwischen kreativen Kräften aus verschiedenen Klang- und Vorstellungswelten hat zu „Hunter’s Moon“ geführt, dem mitreißenden ersten neuen Track von GHOST seit dem
2019 erschienenen Album „Seven Inches Of Satanic Panic“.
Die Entstehungsgeschichte von „Hunter’s Moon“ lässt sich bis zu GHOSTs Show am 16. November 2018 im
Forum in Los Angeles zurückverfolgen als sich Ryan Turek (Get Out, Insidious, The Purge, Us, Whiplash)
und Tobias Forge von GHOST anfreundeten - eine Beziehung, die sich über Treffen, Podcast-Auftritte
und schließlich am Set des kommenden Halloween Kills in North Carolina schnell und intensiv entwickelte.
Die 7-inch Vinyl wird deshalb die spezielle B-Seite „Halloween Kills (Main Title)“ enthalten, die von John
Carpenter, Cody Carpenter und Daniel Davies eingespielt und produziert wurde.

First ever box set from one of the most thrilling bands of the Twentieth
Century.
 Deluxe 7” singles box set featuring the phenomenal original run of singles
with two bonus singles exclusive to this set. Seven 7” singles housed inside
a lift-off lid box with a booklet featuring an essay by Clinton Heylin,
reminisces from Thurston Moore, Henry Rollins, Mark Lanegan X and Dan
Stuart, rare photographs and flyers, new exclusive issue of the ‘Fire of Love’
fanzine, Ruby Records postcard and a ‘Gun’ button badge.
 If ever there was a band seemingly determined to come from nowhere and
go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and
destroy combo was spawned by the LA punk scene in 1979. Two years later
their first LP, the incendiary ‘Fire Of Love’, was spewed out by Slash
Records, a matter of months after the punk zine Pierce wrote for, and the
label named itself after, breathed its last. ‘Fire Of Love’ was one of the 80’s
genuinely shape-shifting US debuts, igniting post-punk depth and minting
genres including blues, psychobilly and Americana.
 Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at
the age of 10, he quickly immersed himself firstly in reggae and later the
Delta Blues, particularly works by Tommy Johnson and Robert Johnson. By
1976, he had become obsessed with Blondie, going on to become President
of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who
suggested to the band they cover ‘Hanging On The Telephone’. The Blondie
connection would later resurface in 1982 when Chris Stein signed and
produced The Gun Club for his Animal Records label. In 1996 after releasing
seven studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away
following a stroke. What he left behind is a legacy of work that has had a
prolific effect on some of the most distinguished rock acts of the past 20+
years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White
Stripes, Mark Lanegan, Primal Scream and The Black Keys.
 “Jeffrey was a human tornado. Yet during the most turbulent points in his life,
he was able to tap what seemed to be a limitless supply of astonishingly
beautiful music. Even now, songs like ‘Flowing’ and ‘Desire’ catch me up.
The immense power that passed through Jeffrey, like an electrical current,
informed his amazing body of work. That level of unrelenting heat and
incandescence is simply not survivable. I wouldn’t wish it on anyone.” -
Henry Rollins (April 2021)
 Six 7” singles reprinted with original artwork. Additional ‘Miami Demos’ 7”
exclusive to this box set. All singles remastered especially for these vinyl
editions.

Soul Genius - Vintage Sound is the collection presenting the greatest artists with their best songs in every musical genre. This new volume is dedicated to Soul Genius. Rediscover 16 masterpieces that made the music history of Soul, including James Brown, Marvin Gaye, The Supremes with Diana Ross…

Kiefer Sutherland, mostly known as an Emmy and Golden Globe Award-winning actor, producer, and director, began pursuing a secondary musical career in the 2000s and 2010s by forming the Ironworks label. He signed Rocco DeLuca, Ron Sexsmith and started his own rootsy Americana outfit called the Kiefer Sutherland Band. Fast forward to 2021, Kiefer Sutherland returns from his UK Top 10 album, 2019’s ‘Reckless & Me’ with a brand new record, 'Bloor Street' coming out on 21st January 2022. Opening track "Bloor Street" (1st Oct) explores the sense of home both externally and within yourself. Lead track "Two Stepping in Time" (5 Nov) showcases Kiefer's classic fire sparking americana tune. Additional focus tracks include "Lean into Me" (31Dec) and "Chasing The Rain" (21 Jan).

First released by Britain’s then foremost folk label, Transatlantic Records in 1970, Storyteller’s first album is a forgotten gem of Psychedelic Folk Prog Rock. Warm and silky production courtesy of Andrew Bown and Peter Frampton, fabulous dual vocals and a wistful arrangement of top-drawer UK Folk Prog, make Storyteller a diamond worth digging into. Around 1969, after being a part of the band The Other Two on Decca Records, working with people like Chuck Berry, Duane Eddy and Jerry Lee Lewis, and touring with Chuck Berry and The Animals, Caroline Attard joined a new band that was being formed; Storyteller. A quintet who followed their own inclination, ignoring current fashions and just doing what seemed to come naturally, Storyteller is a crate-digger’s delight. Up there with Fairport Convention, Jefferson Airplane and Steeleye Span, Storyteller were steeped in folklore tales such as on ‘Ballad Of The Three Laps’, bringing the true spirit of folk alive in their own unique way. With songs written primarily by Roger Moon, and Terry Durham as muse of inspiration with his paintings and wonderful Yorkshire stories, Storyteller’s debut has the authentic and honest vibe of the real McCoy. No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

The ninth album in BBE Music's J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz. Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan. This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze's distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry. The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken's strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass. At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy. This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Since the inception of Anxious in 2016, the band has always acted with purpose. This may seem like a simple premise, but for five kids still in high school at the time, it’s quite an accomplishment. Early songs were packaged in limited run demo tapes with accompanying zines and hand-dyed t-shirts. Weekends were filled with regional runs of shows outside of their Fairfield, Connecticut homebase. With this amount of effort it’s no wonder that within a few years of graduation, Anxious has built a solid foundation for their debut album to flourish upon.

Ike & Tina Turner Rediscover the most magnificent Soul, R&B duo of all time according to the Rolling Stones. This vinyl shocases 16 key tracks including the hits with their early recordings that created their popularity "A Fool In Love", "It's Gonna Work Out Fine", "I Idolize You", "Poor Fool", and "Tra La La La La".

Boy Harsher’s latest release, ‘The Runner (Original Soundtrack)’, is an exorcism.

Augustus Muller and Jae Matthews’ fifth release entitled ‘The Runner (Original Soundtrack)’ is not a traditional album. Rather, it is the soundtrack to a short film, also entitled ‘The Runner’. The film, written, produced, and directed by the duo, is a searching horror film, attached to a meta-style “documentary” about Boy Harsher’s recording process. The album includes several distinct components: cinematic arrangements, vocal features, and of course classic Boy Harsher dark pop.

Both the album and short film will be released in January 2022.

Last year, in the midst of the obvious chaos (the global pandemic), but additionally with Jae’s MS diagnosis, Augustus started working on moody, cinematic sketches. It was uncertain what these pieces would become, other than catharsis. In Jae’s period of convalescence, she kept thinking about this sinister character: a woman running through the woods. Together, they developed this idea further into a film. They were unable to tour, a drastic (and isolating) shift in their career, and making ‘club music’ did not feel right. But there was so much they needed to get out. The next Boy Harsher release would be a reconciliation of this time. The album processes feelings of universal anxiety and the confrontation of at home illness. A necessary expulsion during a time of unrest.

The album opens with “Tower”. The only track on ‘The Runner (Original Soundtrack)’ that Boy Harsher has previously played live, but never recorded. The song is an incantation, with its pulsing synth and Jae’s begging vocals. A spell about desire and impending destruction. Jae asks 'But are you honest? Do you trust? You trust in me?' Questions answered by her desperate yells. It starts both the film and the soundtrack with a heavy presence.

Two songs on ‘The Runner (Original Soundtrack)’ feature vocalists other than Jae Matthews. He allows a distinct sound for both vocalists and really leans into the possibility of divergent genres. “Machina”, is a HI-NRG homage, performed by Mariana Saldaña of Boan, and “Autonomy” a new wave tribute, performed by Cooper B. Handy of Lucy. Augustus Muller fully embraces the soundtrack ethos, by creating fictional ‘bands’ to generate additional content.

‘The Runner (Original Soundtrack)’ is exactly what’s in the name: a soundtrack. At first the shape of the release was nebulous - yet once realized the album is dynamic. It serves as the story of the running figure and her musical accompaniment. Those expecting a traditional release will be surprised, but not disappointed.

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.