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Vintage Sounnds Collection is back with a new volume. This time, let's get some Mambo in your ears! Remastered titles of the finest classics of the genre including Perez Prado, Tito Rivera and Tito Puente.

Sechstes Album der norwegischen Kultband. Oliver und Svein Kersbergen zaubern einen neuen Mix aus Drones und Soundscapes mit wunderschönen Melodien. Mit dabei, eine sehr ungewöhnliche Zusammenstellung an Gästen: Kjetil Manheim (Mayhem, Order, Big Robot), Sandy Dedrick von der 60s Sunshine-Pop-Band Free Design sowie Mark Refoy von Spacemen 3 und Spiritualized.
Für Fans von Fans von Vintage, verträumtem Pop und Kraut.
Yellow Vinyl-Version in streng limitierter Auflage!

Recorded for Benin’s Communist revolution,
‘Rhythm Revolution’ is a rare and truly unique
Afrobeat record - it’s rumoured only 200 copies of
the original release survived.

 Ferry Djimmy was a schoolteacher, former boxer,
and a personal friend of Muhammad Ali and Fela
Kuti. He was later Jacques Chirac’s personal
bodyguard.

 Recorded at the Satel Studio in Cotonou, the
album is one of the toughest, wildest and deepest
slices of Afro-Funk cut - with raw African rhythms,
distortion, energy and wit.

 Alongside nods to Hendrix, Kuti and James Brown,
there is something truly unique about Ferry
Djimmy’s musical legacy.


 A must-have for Afrobeat, Afro Funk and Psych
collectors.

The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco embosses the sleek, multicoloured flash of ‘Plastic’.

 Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.
 In the past several years, Oog Bogo dropped two records that previewed this explosion in wildly divergent ways: 2019’s ‘Oogbogo’ EP, with wigged-out production, its contorted fun house mirror images pulling punk, psych and new wave in and out of focus in a chaotic procession of mutant tunes. 2021’s ‘EP2’ radiates a starkly different vibe, as chilled-out guitar-pop tunes conjure a flowing medley of plaintive echoes and atmospheres in a mellow mist of hiss.

 Kevin Boog recorded these records in a largely hermetic state: at home on 4-track, playing all the parts, slowly drawing out the sounds. The songs for ‘Plastic’ were demoed this way too, as a starting point for a group interpretation - but when, for obvious reasons, logistics prevented everyone from getting in the same room to even rehearse, the planned recording session at Ty Segall’s Harmonizer Studios took on a different shape.

 Starting off with only drummer Thomas Alvarez (Audacity) to accompany him, Kevin
realized that any obstacles to getting the record made were also opportunities, for
something else that was also right to happen. Rather than reach for the design of the
demos, he kept himself in the present moment, approaching every passage as fluidly
as possible, playing what he needed to play, staying open to what he needed to
know. It didn’t hurt that the laptop with all his songs crashed right after he walked into
the studio! There was no way possible but forward.
 The direction was right on with the guys at Harmonizer - Ty Segall’s sense of
imagination made him the ideal production counterpart to walk together with Kevin
into this world, psyched to experiment and ready to get weird at any time. Ty and
engineer Matt Littlejohn met all requests and requirements in the form of sounds, with
gear and approaches that amazed and delighted, and an eternally ebullient spirit.
 As this was Oog Bogo’s first time recording away from home, Kevin was a kid in a
candy store - where the store owner turns out to be a Wonka-esque philanthropist.
As band members Mike Kreibel (Dirty & His Fists) and Shelby Jacobson (Shannon
Lay) joined the session, there was a synchronicity and community with everyone
involved, finding an unexpected road to realizing the songs, with all the colours and
hues they added making everything pop that much harder.
 Fluidity was key: ‘Plastic’’s tunes depict a polymorphic cast of characters. As in life,
they leap avidly from style to style; from pretty psych rock to new wave apocalypse
disco and harsh post punk bleakness, sometimes in a verse and a half. Corkscrewing
over and over like a riff-driven space-coaster, morphing in and out of each
successive moment with increasing momentum and gravity, ‘Plastic’ defines and
redefines Oog Bogo, with sweet tunes, barely-controlled intensity and sharp
production moves - a killer first album and an equally killer evolving state of mind.

The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco embosses the sleek, multicoloured flash of ‘Plastic’.

 Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.
 In the past several years, Oog Bogo dropped two records that previewed this explosion in wildly divergent ways: 2019’s ‘Oogbogo’ EP, with wigged-out production, its contorted fun house mirror images pulling punk, psych and new wave in and out of focus in a chaotic procession of mutant tunes. 2021’s ‘EP2’ radiates a starkly different vibe, as chilled-out guitar-pop tunes conjure a flowing medley of plaintive echoes and atmospheres in a mellow mist of hiss.

 Kevin Boog recorded these records in a largely hermetic state: at home on 4-track, playing all the parts, slowly drawing out the sounds. The songs for ‘Plastic’ were demoed this way too, as a starting point for a group interpretation - but when, for obvious reasons, logistics prevented everyone from getting in the same room to even rehearse, the planned recording session at Ty Segall’s Harmonizer Studios took on a different shape.

 Starting off with only drummer Thomas Alvarez (Audacity) to accompany him, Kevin
realized that any obstacles to getting the record made were also opportunities, for
something else that was also right to happen. Rather than reach for the design of the
demos, he kept himself in the present moment, approaching every passage as fluidly
as possible, playing what he needed to play, staying open to what he needed to
know. It didn’t hurt that the laptop with all his songs crashed right after he walked into
the studio! There was no way possible but forward.
 The direction was right on with the guys at Harmonizer - Ty Segall’s sense of
imagination made him the ideal production counterpart to walk together with Kevin
into this world, psyched to experiment and ready to get weird at any time. Ty and
engineer Matt Littlejohn met all requests and requirements in the form of sounds, with
gear and approaches that amazed and delighted, and an eternally ebullient spirit.
 As this was Oog Bogo’s first time recording away from home, Kevin was a kid in a
candy store - where the store owner turns out to be a Wonka-esque philanthropist.
As band members Mike Kreibel (Dirty & His Fists) and Shelby Jacobson (Shannon
Lay) joined the session, there was a synchronicity and community with everyone
involved, finding an unexpected road to realizing the songs, with all the colours and
hues they added making everything pop that much harder.
 Fluidity was key: ‘Plastic’’s tunes depict a polymorphic cast of characters. As in life,
they leap avidly from style to style; from pretty psych rock to new wave apocalypse
disco and harsh post punk bleakness, sometimes in a verse and a half. Corkscrewing
over and over like a riff-driven space-coaster, morphing in and out of each
successive moment with increasing momentum and gravity, ‘Plastic’ defines and
redefines Oog Bogo, with sweet tunes, barely-controlled intensity and sharp
production moves - a killer first album and an equally killer evolving state of mind.

"Born in Crystal Palace in 1995, Max moved to Brighton aged five and following his parents’ separation much of his youth was spent travelling between his parent’s homes on the coast and his nan in South East London.
A constant in his world of uncertainty was music. In part, this was thanks to his music obsessive father, who would expose him to an abundance of genres whenever he visited. Max soon developed an insatiable musical appetite of his own. The urgent poetry of Gil Scott-Heron resonated, as did Nick Drake’s intricate folk and the Beatles’ pristine pop. Bill Withers, Graham Coxon, Donny Hathaway and Jimi Hendrix also hit home. Max’s musical church has always been startlingly broad, counting funk, bossa nova, blues, jazz and rock and roll amongst its number and explains why many of these styles surface in his own material."

The second single from the Nicole Willis album Happiness in Every Style opens up the promised spectrum of joy into new ecstatic states. One In A Million is an unapologetic love song, which while connecting to this most traditional mode in soul music, also makes it correct for the dancefloor. Connoisseur terms such as 'crossover' or 'modern soul' might prove to be accurate here, but a membership in the soul scene is not mandatory to get down.

The main thing is that this up-tempo horn-driven groover, propelled by The Soul Investigators (as the usual suspects), should make things move inside, tickling nerves in scenesters as well as the layman, as their breakthrough hit If This Ain't Love did back in the day.

The world and the music business is different for Nicole Willis and the boys from up north. Nevertheless, One In A Million might be the underground hit that nobody saw coming. Or it just as well might not, but this is no excuse for not making quality music. This and more can be anticipated from the new album, dropping on Timmion Records in autumn 2015.

South American Jazz & Bossanova flavours from 60s & 70s in Liguria, north west Italy. Melody sounds really close to Brazilian Portuguese and instrumental tracks smells of South American Jazz.
Nonetheless, the sound landscape clearly reflects the Italian Library Music of the time. This mingling was made possible by the commercial and cultural interconnections during the discovery of the New World: the local Ligurian language was influenced by new stimuli from the new territories and vice-versa. Moreover, from the end of the Nineteenth Century, a strong migration of Italians involved South America, with numbers comparable to the Italian migration in the USA, but less known because less represented in films or narrative.
As a result of these connections, these songs sound mellow, carioca and exotic, based on the phonetics of one of the most musical, folkloric and peculiar Italian dialects.
The artwork project is a homage to lithographs and ADV that were inspired by the first tourist and migration trips departing from Genoa towards Rio De Janeiro. The lithographs were recovered by “L’Image” an existing art gallery in Alassio, a small town in Liguria.
"Bossa Ligure" can be seen as a micro-genre and a different form and aesthetic of Brazilian music, which is unknown to many, but that we would like to make available with this collectanea. A musical and a
cultural expression which reveals a strong influence and connection to the Brasileiro sound in an unexpected territory.

After having released solo albums on Western Vinyl and Preservation, Domes presents the first entirely instrumental work of the California based multi-instrumentalist Heather Woods Broderick.

Domes is a collection of meditative pieces based around the cello. While not being her primary instrument, the cello holds a very special place for the artist. Throughout the past 2 years, Heather often felt the need to find moments of respite in response to the chaotic and turbulent times we all faced in that period. Her days started or ended with the cello. A single melody initiated a process in which new elements were gradually added to the initial loop until the sounds filled her up. This process and the instrumental nature of these pieces opened the path for self-reflection and enabled her to express emotions outside the world of words or lyrics:

“The cyclical nature of the loop combined with the sound feeling like it’s surrounding me feels serene and safe. My hope is that listeners experience this as well.” - Heather Woods Broderick

Domes is a documentation of that period and offers 7 pieces which to the artist feels like dense masses – strong grounding sounds that can hold weight or be used to disperse weight - in an emotional sense. The album title, Domes, reflects this idea as domes are made out of triangles – the strongest shapes in the physical world. Coincidentally, there are 7 different triangles. As such, the pieces on Domes each reflect a different triangle, a different strongest shape which offers the listener a solid basis to find rest and calmness.

Heather Woods Broderick is a composer, songwriter, and multi-instrumentalist. Growing up in a family of musicians, music took root in Heather’s life at a very young age. Evenings spent singing along to her parents folk music collection began to shape her sense of song as a child. After many years of classical piano training, she began to expand her musical toolkit by learning to play guitar, cello, and flute among others. Deeply influenced by rich tapestries of the natural world, she excels at crafting sonic landscapes that reflect both lushness and intimacy. Heather has released three solo albums to date, and over the years has recorded and toured extensively around the world with a multitude of artists including Sharon Van Etten, Efterklang, Alela Diane, Horse Feathers, Damien Jurado, Lisa Hannigan, Laura Gibson, and more.

Gene Pitney was a musician’s musician. Having begun his career as a songwriter, he was not content merely being the faceless pen behind his peers’ success, becoming a singing star in his own right. He did this during a time when America’s shores were being invaded by a wave of British talent led by The Rolling Stones and The Beatles. Pitney turned the tables by finding success in the UK and went on to enjoy a 45- year career. 1962 was Pitney’s breakout year in the US. He shot to Number 4 in April with the Burt Bacharach and Hal Davidpenned hit (The Man Who Shot) Liberty Valance, intended as the theme for the John Wayne
flick of the same name. He followed that up with his highest-charting US single, Only Love Can
Break A Heart. It would go on to be covered by numerous artists, Dionne Warwick attempting
her own version in the late Seventies. He left behind a four-decade career that saw him notch
up 16 US Top 40 singles and 22 in the UK. His legacy is also evident in the hits of others, like
Orbison, Bobby Vee and Ricky Nelson. This collection showcases the best of Pitney’s early
work, and gives an insight into one of America’s most gifted musicians, a man who found his
own voice.

This three album Limited Edition Numbered set of Fleetwood Mac live
and studio tracks on Blue Vinyl recorded after the departure of Peter
Green and before the arrival of Stevie Nicks and Lindsey Buckingham
Fleetwood Mac made it big twice over: first as young kings of the late 1960's
British blues boom – blues fanatics who nonetheless made the pop charts with a
batch of memorable songs penned by founder Peter Green.
Then secondly, as the band that with its Rumours album Californian line- up,
tapped into a whole new market in the mid-1970's which became known as AOR -
adult oriented rock.
The music here is from a pivotal eighteen months in Mac's history as it lost its
original if- it- ain't- blues- we- don't- wanna- know attitude and looked to its own
songwriters - and America's West Coast sound - for inspiration.
After Peter Green's exit in May 1970 the rest of the band bravely decided to carry
on as a 4-piece, and so rented an oast house called Kiln House to try and 'get it
together in the country. Christine McVie joined, and one of the stand-out songs,
'Station Man', would endure for Mac in the bleak years before they moved to
California in 1974 where they struck gold with their eponymous white album and
then Rumours. 'Station Man' eventually found its way into the live set-list of the
Buckingham/ Nicks line- up and listening to it again here you can hear why: in
there, as far back as 1970, are some trademarks of the Rumours sound: threevoice harmonies, in- song tempo changes and ringing guitar sounds. Similarly,
'The Purple Dancer' and 'Jewel Eyed Judy' showcase a vocal harmonies and
melodic sense of things to come for Fleetwood Mac many miles down the line.

Features all-analogue mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket.

The series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

1957's The Poll Winners was the first of five all-star trio sessions featuring the dazzling interplay of guitarist Barney Kessel, drummer Shelly Manne and bassist Ray Brown. For The Poll Winners, Kessel, Manne, and Brown did not record together simply because they all happened to have won first place on their respective instruments in the Down Beat, Playboy, and Metronome polls.

Their collaboration was due to mutual respect, and their sensitivity to one another's musical requirements. Here, in a set composed mainly of pop and jazz standards, they represent the ultimate in their fields, constituting a rhythm section that also provides brilliant solo interludes by all three members. Collectively, Kessel, Manne, and Brown won dozens of polls over the years; this record eloquently tells you why.

Sam Cooke was such an important pioneer of soul music that he was commonly known as the king of the genre. His distinctive emotive voice is one of the most easily recognizable of all in popular music and his work paved the way for countless other giants, including Otis Redding, Marvin Gaye, Curtis Mayfield and Al Green, among many others. A native of Clarksdale in northwest Mississippi that was raised in Chicago, he was the fifth of eight children born to a Pentecostal minister. Beginning his career with his siblings as The Singing Children, he led gospel group The Highway QCs in his teens and then joined The Soul Stirrers, reaching greater glory upon going solo in the mid-1950s, when he scored the first of many number-one hits for the short-lived Keen label, and then reached a wider audience upon switching to RCA in 1960. My Kind Of Blues was recorded for the label in 1961 (just as Cooke was launching his own SAR Records imprint), being a collection of show tunes and jazz standards, delivered in a soulful blues style by Cooke atop lush orchestration, arranged and conducted by trumpeter and bandleader, Sammy Lowe. Highlights include a soave version of Duke Ellingston’s “I’m Just A Lucky So And So,” a cool cut of “Nobody Loves You When You’re Down And Out,” a stirring take of George Gershwin’s “But Not For Me” and a lovely rendition of Irving Berlin’s “The Song Is Ended.”

Fantastic Negrito's upcoming album and short film "White Jesus Black
Problems" was inspired by a search into his ancestry where he found that
his 7th generation grandmother was a Scottish indentured servant who
entered into a common law marriage with an African American enslaved
man, his 7th generation grandfather, in open defiance of the racist laws of
1750's colonial Virginia
Their love story is a healing testament to standing up against inhumane and
brutal systems with love as your only weapon. Their perseverance is a lesson in
today's polarized society on the virtues of constant struggle in the face of
ignorance, fear, and violence, which is still present in the contemporary
embodiments of white supremacy, bigotry, and hatred. It's important to tell the
story of how those who suffered much greater indignities and violence than we
do in contemporary times were nonetheless able to preserve their humanity
through human connection and the determination to love. If they can do it in
1759, we can do it 2022.

This limited reissue of Arjen Lucassen’s (of Ayreon fame) second solo album from 2012 comes in a gatefold jacket and features the original booklet. The story of “Lost in the New Real” follows Mr. L, a twenty-first century man who was cryopreserved at the moment of clinical death from a terminal disease. The album begins as Mr. L is being revived at a point in the distant future, when technology has advanced enough to cure his disease. Mr L finds himself in a world that has drastically changed — to the point that the line between what’s real and what’s not is no longer clear. Arjen Lucassen as “Mr. L” Vocals, instruments, music, lyrics Rutger Hauer as “Dr. Voight-Kampff” Instrumentalists Arjen lucassen: all instruments, with the exception of those listed below Wilmer Waarbroek: backing vocals Ed Warby: drums Rob Snijders: drums Ben Mathot:violin Maaike Peterse: cello Jeroen Goossens: flute Elvya Dulcimer: Hammered dulcimer on “Battle of Evermore”

Green Vinyl Edition - PNFG is frustrated but delighted to bring you a half
of a double treat from The Bathers!In 2022 we aimed bring you the debut
album "Unusual Places To Die" on vinyl and cd - some 35 years after it's
initial release on Go Discs
Accompanying this remastered album we also intended to produce "More
Unusual Places To Die" an 8 track EP featuring early recordings, providing an
incredible insight into the mind and music of Chris Thomson.Both records and
CDs were to be remastered by fellow "Friend Again" Paul McGeechan.
Sadly due to insane problems obtaining licensing contracts from Island Records
via Universal Music, we have taken the decision to make some changes to the
project.The 8 track Mini LP is now a fully-fledged album featuring 12 tracks (14
on CD) Some new never before released tracks, fully remastered and some
alternative versions of previously available tracks. This album is now entitled -
Summer Lightning.

An avant-garde masterpiece, a vocal-instrumental suite, a work of
collective improvisation, directly addressing the racial and political issues
of it's day, We Insist! Max Roach's Freedom Now Suite is one of the most
important artistic statements of the Civil Rights Movement and one of
the most groundbreaking jazz albums of all time
The second release from the newly launched New York City based jazz label
Candid Records, and produced by label co-founder, famed music critic and social
activist, Nat Hentoff, the album is a bold statement, focussed on civil injustices in
black history ranging from slavery to contemporary racial prejudices, and
featuring some of the finest jazz musicians ever, including Abbey Lincoln,
Coleman Hawkins, Eric Dolphy, Booker Little, and Michael Babatunde Olatunji.

Oslo-based American-Norwegian trio Buster Sledge releases their first
studio album Call Home in May 2022, following up on their self-recorded
and self-released debut Spirit (2020)
Fiddle, banjo, guitar and three voices are the vehicle for lyrical storytelling against
an orchestral background anchored in the acoustic music traditions of the United
States. Hailing from northern California, lead vocalist and songwriter Michael
Barrett Donovan mixes themes from personal experience with folk and country
music archetypes to breathe new life into time-tested song structures. Banjoist
Mikael Jonassen and guitarist Jakob Folke Ossum both share a thorough
appreciation for the fundamentals of bluegrass music, clear melodies and
harmony- singing through the lens of being trained jazz musicians. In eleven
tracks, Call Home tips its hat to artists such as Norman Blake, The Punch
Brothers, Tim O'Brien and John Hartford. Buster Sledge was the first group to
record in the recently relocated Globus Studio of Sjur Lyseid (Little Hands of
Asphalt) and his influence from behind the mixing board pushed the band into a
slightly-augmented acoustic sound with more streamlined arrangements which is
a suiting duet with the album art by William Hay that realizes a scene of a rider
overlooking a large river-valley in impressionistic swaths of color.
Banjoist Mikael Jonassen, from Bodo in the far north, is Norway's first and only
higher-education certified banjo player. Despite beginning with an electric banjo
and playing exclusively fusion jazz, Jonassen currently focuses his efforts on
Scrugg's style acoustic banjo and the playing of Bela Fleck and has taken several
trips to the US to learn from the masters. Jakob Folke Ossum, jazz- guitarist
turned flat- picking aficionado, discovered the sound of acoustic flat- picking
through Tony Rice and Bryan Sutton and meticulously taught himself from
records and videos. Fiddler Michael Barrett Donovan made a living as a musician
in New York City doing a master's in classical composition while touring with a
Grateful Dead tribute band. The three met in a comment section on a bluegrass
forum after Donovan moved to Norway in 2019. The rest of the story you'll have
to ask them at a show sometime. Buster Sledge has been on stage in many small
venues in southern Norway, don't miss them the next time they come to town!

THE DEBUT ALBUM OF COLD & PRIMITIVE OLD-SCHOOL NORWEGIAN
BLACK METAL, BORN FROM THE ASHES OF CULT ACT, TULUS
PRESENTED ON THE VINYL FORMAT FOR THE FIRST TIME.Norwegian black
metal band Khold formed in Oslo in the year 2000, by Gard & Sarke (also known
from his own, self-named act, alongside Darkthrone's Nocturno Culto). Khold is
what emerged out of the ashes of the cult band, Tulus. Khold has recorded 6
albums to date & have successfully toured with bands such as Satyricon &
Behemoth in the past. Khold is also notable for their use of old Norse for songtitles & lyrics. 'Masterpiss Of Pain' was Khold's debut album, released in 2001 on
Moonfog Productions & was recorded at Panser Studios (Arcturus, Chrome
Division, Fleurety) in Oslo.
'Masterpiss Of Pain' also features a guest appearance by Galder (Old Man's Child,
Dimmu Borgir) on the track 'Rovnatt'.
This edition of 'Masterpiss Of Pain' is presented on the vinyl format for the first
time & contains inner sleeve with lyrics.

Beginning life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop ME REX are equipped with multitudes of “surging gargantuan hooks”, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). In 2021 the band released their debut album Megabear: a record built from 52 short tracks intended to be played in shuffle mode in order for the listener to create their own perfect combination of songs. In 2022 they dove headfirst into follow-up EP Pterodactyl which saw them change pace and tact throughout — constructing delicate vocal layers with luscious swathes of guitars and keys to build a bridge between their raw DIY past and a bright, creative future. Across all four songs on new EP, Plesiosaur, ME REX focus their attention on catchy choruses and snappy rhythms. With Toilet of Venus acting as an extension of Lager Door, the former track looks at present struggles as opposed to the latters inherent nostalgia, Jupiter Pluvius looks theologically at the idea of projecting strength and power onto inanimate objects, all wrapped in sharp wordplay and vibrant fuzzed out guitars and keys that are addictive as hell. Described as “nothing short of an artistic triumph” by Brooklyn Vegan— as well as seeing praise from Pitchfork, DIY, Rocksound, Line Of Best Fit, BBC 6Music, Radio X, Amazing Radio, Audiotree, The I Paper and Baby’s Alright— ME REX are showing no signs of slowing down.

Coming 40 years after he first started performing in bands in his native North West of England, Butterfly Mind is the most surprising release yet from Tim Bowness. From the short, sharp shocks of Always The Stranger and Only A Fool to the long-form ambition of the sensuous Dark Nevada Dream, the cinematic Electro-Ballroom of Glitter Fades and the dystopian paranoia of Say Your Goodbyes Parts 1 and 2, Butterfly Mind delivers a thrilling fusion of Art Rock invention, Post-Punk energy and epic soulful ballads. Tim’s seventh solo album features the stellar rhythm section of Richard Jupp (in his first major session since leaving Elbow) and Nick Beggs alongside a spectacular guest list including Ian Anderson (Jethro Tull), Dave Formula (Magazine), Peter Hammill (Van Der Graaf Generator), Martha Goddard (The Hushtones), Gregory Spawton (Big Big Train), Mark Tranmer (The Montgolfier Brothers / GNAC), Saro Cosentino (Franco Battiato), Italian Jazz musician Nicola Alesini, US singer Devon Dunaway (Ganga), Stephen W Tayler (Kate Bush) and, marking his first studio work with Tim for nearly three decades, former No-Man violinist Ben Coleman. Produced by Tim Bowness and Brian Hulse (Plenty), the album was mixed and mastered by Steven Wilson. Available as Limited 2CD Edition (featuring alternate mixes and bonus material), and a Limited 180g LP + CD edition featuring special die-cut artwork by Carl Glover. Also available as Digital Album.

One of Swedish Death Metal most sought after albums, and rightfully so! Therion’s relatively unknown beginnings as a “standard” Death Metal band seem to be misunderstood by many Metal listeners. Although the general consensus seems to be that “Beyond Sanctorum” is just “straight up Death Metal” while their later releases are neoclassical style, upon closer inspection, the opposite seems to be true. Although “Beyond Sanctorum” uses mainly instruments and performance aspects of standard Death Metal, the songs are alreafy composed in a style more similar to actual classical music. “Future Consciousness” starts the album off with a churning Morbid Angel style intro alternating with dark tremolo melodies and some heavy groove. Other bright spots include “Cthulhu”, featuring deep, cavernous doom sections evoking the famous sunken city, alternating with frantic fast passages. “Enter the Depths of Eternal Darkness” goes from a sludgy opening section to fiery death metal, with some eerie lead guitar moments and is also quite satisfying. “Symphony of rhe Dead” has an early The Gathering feel, that bursts into Death Metal later on. The highlight of this album is definitely “The Way”. This is where the bands developing symphonic style is most obvious, so “Theli” fans should definitely hear this song first. We cannot recommend it enough - “The Way” is not only the best song on the album, but one of the best examples of adventurous, progressive (yet uncompromising) Death Metal one is ever likely to hear. This album released around the time when Death Metal was abandoning its primitive roots and going off into more complex territory. For anyone willing to take the time to really listen to music beneath surface level aesthetics, this is actually a surprisingly complex and rewarding listen. This album is light years ahead of their debut.

The dawn of Symphonic Therion glooming at the horizon, yet still drenched in Dark Metal execution! Though it was their fourth full-length, and we had been given a sampling of their symphonic/gothic direction with “Symphony Masses: Ho Drakon Ho Megas”, “Lepaca Kliffoth” might remain the most memorable masterpiece of the band’s career along the follow-up “Theli”. A transitional phase between the band’s Death Metal roots and the hybrid of symphonic, gothic metal which they would carry forward for the rest of their career. This is an extremely dark album. The band retains their fascination with obscure occult magick and prophecies within the lyrics, and the music revolves around killer mid-paced Metal riffs drenched in the vocal libations of Christofer Johnsson. The album starts off strongly with “The Wings of the Hydra”, and from there on the serpent has snaked about your spine. An addictive piece with an obvious Celtic Frost influence, chanting vocals, simple synth tones and arabesque guitar melodies which evoke the mythical age of the song’s namesake. The album’s ‘hit single’, “The Beauty in Black” is glorious and gothic, it uses a pair of operatic vocalists (male and female), a sort of predecessor to the revolving door of guest musicians the band would use on their later albums. Other excellent tracks include the charging “Riders of Theli”, the crushing doom of “Black” which would have fit almost perfectly on “Into the Pandemonium”. The rest of the album is equally dark and enchanting, with other standouts being the title track and “Evocation of Vovin”. Synthesizers, flutes multiple vocalists, and the core of the band are all clear and precise throughout, yet it still carries a very raw and dark, ominous tone to it which trumps the later studio efforts. This may not be quite as symphonic as many Therion fans demand of their material in recent years, but it clearly marks the point where this band transformed from a innovative Death Metal band into the Gods of Gothic Metal. There are very few parallels to something like this, and it belongs in the collection of any fan of quality Occult Metal.

In a pre-Rock world, no female vocal group came within touching distance of the
Andrews Sisters in terms of success. Between 1938 and 1951 they notched 90
Top 30 hits in the USA and appeared on countless other best-selling singles by
artists such as Bing Crosby, Dick Haymes, Danny Kaye, Ernest Tubb, Carmen
Miranda and Burl Ives. The Andrews Sisters were the most plagiarised of all
female singing groups and influenced many artists, including Mel Tormé, Les Paul
and Mary Ford, The Four Freshmen, The Pointer Sisters and Barry Manilow. It’s
time to celebrate the works of this wonderful trio and enjoy their incredible tones
and harmonies so grab yourself a Rum & Cola and get down with some Boogie
Woogie!

SINGLE VINYL EDITION OF DODHEIMSGARD'S 1999 MASTERCLASS OF
BOUNDARY-PUSHING EXPERIMENTAL BLACK METAL.To fans of black
metal, Dødheimsgard need no introduction, being one of the great
purveyors of the Norwegian Black Metal creative evolution
The band was formed in 1994 by Aldrahn (Thorns) & Vicotnik (Ved Buens Ende).
The early incarnation was that of a raw & at often melodic black metal band, with
their debut album also featuring Fenriz of Darkthrone on bass. In recent years,
Dodheimsgard has become known for its eclectic musical ventures & poignant
mood shifts, with a less chaotic, more considered approach compared to their
earliest works. Following the 'Kronet til Konge' & 'Monumental Possession'
opuses, there was a shift in direction as demonstrated on 1998's 'Satanic Art' EP
& by Dødheimsgard's third album, '666 International', Vicotnik had taken over a lot
of the writing duties, with DHG's style becoming more technical yet ferocious
black metal, with strong experimental ideas & industrial elements. Vicotnik's riffs
were inspired by cult bands such as Thorns & perfectly entwined with Aldrahn's
delightfully twisted lyrics & immense vocals to create something truly unique. In
its '666 International' incarnation, DHG (as they were later to be known) featured a
line- up of well- respected Norwegian musicians including Czral (Aura Noir, Ved
Buens Ends, Virus), Apollyon (Aura Noir, Immortal), plus Mr Magic Logic (Fleurety)
on keyboards, as the album was constructed over a period of time. All in all, '666
International' is rightly regarded as a highly influential masterpiece of avant-garde
metal by many since its release in 1999.
This edition of '666 International' is presented on black vinyl in single sleeve,
retaining the original cover artwork & contains lyrics.

MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL

· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries

Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”

· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and

· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics

Transport the Listener to Faraway Horizons



Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.



Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.



Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.



Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."



Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."



Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.



MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

What is possible in the field of electronic music? What can you get out of
a cutting-edge ecello, that he helped to develop, from the instrument
itself? What possibilities do loop machines, samplers and many other
technical innovations offer? The classically trained cellist, who embraces
experiment, moves without gravity into the pulsating core of a musical
universe, that has expanded exponentially in recent years, on his solo (in
the true sense of the word) album

Caamp formed when Taylor Meier and Evan Westfall met and bonded
over a shared love of music and a shared love of home, specifically the
inspiration they culled from the Midwest lives they grew up in
The two began writing and performing and quickly grew a rabid fan base. A selftitled 2016 debut album took flight, Evan and Taylor brought a third member and
longtime friend, Matt Vinson, to join on bass just before recording By and By. In
week one of the release of their full- length, By and By on Mom + Pop, Caamp
made multiple chart debuts. By and By entered the Billboard Top 200, was the #1
Heatseeker, #1 on the New Artist Alternative Albums, top 5 vinyl album sales for
the week and entered the Alternative and Emerging Artist charts. Caamp then
scored their first #1 at radio with their single 'Peach Fuzz,' made their late-night
television debut on Jimmy Kimmel Live!, and followed that up with a killer
performance on CBS This Morning Saturday. After a victorious 2019 festival
season playing Firefly, Shaky Knees, Forecastle, Outside Lands, Austin City Limits,
Great Escape and many more, Caamp kicked off a major US headlining tour in
September of 2019 and sold out show after show. In early 2020, Caamp
performed on the Late Show with Stephen Colbert. The performance was filmed
in Caamp's hometown of Columbus, OH during quarantine. The trio later released
their first live EP Live From Newport Music Hall. The five- track recording was
taken from one of their seminal hometown shows in Columbus, OH. The
recording contains live versions of songs off their most recent album, By and By.
Not long after the release of Live From Newport Music Hall, Caamp kept
themselves busy by releasing the singles and companion videos for 'Officer Of
Love' and 'Fall Fall Fall' via their label home, Mom + Pop. The band then
celebrated another victory in 2020 with their single 'By and By' resting snugly in
the Top 5 Most Spun on Sirius XM's Alt Nation. They kicked off 2021 with 'Officer
of Love' hitting #1 at AAA radio for 2 consecutive weeks. In 2022, the band will
release their highly-anticipated album 'Lavender Days' featuring 'Believe

On 'Hurricane Clarice' stringband revolutionaries Allison de Groot &
Tatiana Hargreaves infuse centuries of matrilineal folk wisdom into a
soundtrack to environmental disaster
Produced by indie folk visionary Phil Cook, the duo's energetic sophomore album
features nine pieces, including two epic medleys (carefully selected from their
archival deep dives) as well as a few transcendent instrumental originals.
Recorded during an apocalyptic heat wave in Portland, OR, the album is a
testimony to the relation of community and climate in a dying world. The
Hargreaves- penned title track delves into the surreal world of Brazilian author
Clarice Lespector while the Canadian ballad "The Banks of the Miramichi"
references the "before times" of a polluted river used as a case study in the
environmentalist classic 'Silent Spring'. We turn inward in times of global or
personal crisis, seeking the wisdom of those before us — a human instinct
manifested literally on this record through the recorded voices of the duo's
grandmothers. Any artist unearthing old sounds takes traditional elements and
exaggerates here or there to fit a personal aesthetic or style–there is no authentic
rendition. With 'Hurricane Clarice', Allison and Tatiana propose a third way beyond
tradition and progress. Community might just save us all.

Perhaps the best Soul / Funk LP Athens of the North has ever released and you know we have high standards, not one filler and mostly unreleased tracks – Essential LP

The Up Tights were formed by Henry Bradley in Forrest City, Arkansas in March of 1967 while most of the band members were attending Lincoln High School.They took their name from the Stevie Wonder song "Uptight - Everything's Alright." Playing at school functions, they quickly branched out to playing bigger shows and headlined the 1968 St. Francis County Fair in Forrest City.

The Up Tights first recorded for Action Records in Memphis as Noble and the Up Tights. The 45 featured an original song by singer, Izear "Ike" Noble Jr. titled "Don't Worry About It."

Henry Bradley was drafted into Vietnam in 1968. He served in the 1st Squadron, 11th Armored Cavalry Regiment. While he was away, the Up Tights continued with Henry's brother, Arthur, taking over all the guitar duties. The band also hired a manager named John Mitchell. In 1968, the band met Joe Lee, who owned Variety recording studio in Jonesboro, Arkansas.

For the band's first recordings at Variety, Lee chose two originals by Noble titled "Look a Little Higher" and an updated version of "Just a Dream" which Lee released on his Alley Records label in 1968. Lee continued to record the band over the next several months. He liked to experiment in the studio and produced many versions of the group's original songs, adjusting the mix and adding elements to each unique take.

For the group's second Alley release, they appeared simply as Ike Noble on the record label. Lee brought in a local songwriter named Charles "Jamie" Holmes, who had previously written for Alley records and Joe Keene's studio in Kennett, Missouri

The resulting 45 from this collaboration was "It's Bad" backed with "That's What I Get," two Holmes originals. Another Holmes original was unreleased at the time, but available here titled "There's Gonna Be a Better Day Coming." Stax Records was interested in signing the group and wanted to re-cut "It's Bad" at their studio, but ultimately the label passed since they generally had a policy of working with Memphis based groups.

As the band grew in popularity, they began appearing with and competing with Memphis legends, the Bar-Kays. The group's biggest show in Arkansas was an opening slot at Barton Coliseum, one of the largest venues in the state, in Little Rock in mid-1969. As a result, the band was offered a spot on George Klein's "Talent Party" television show on WHBQ in Memphis in July of 1969..... Further Sleeve notes on back of the LP

Winston 'Niney' Holmes AKA The Observer, must be one of Reggaes finest Roots Rebel producers. Capable of making some of the heaviest, innovative music, not only in sound but also in the Cultural/Political sense.
Born George Boswell, Montego Bay, Jamaica 1951, and name checked 'Niney' due to losing a thumb in a workshop accident. He began his career in music by organising bands to play at school dances. But his first steps learning the musical ropes came working under the tutelage of producer Bunny Lee around 1967, organising sessions for Bunny's stable of artists. He moved on to work alongside Lee Perry at Joe Gibb's 'Amalgamated' label setup, where on Lee Perry's leaving in 1969 to start his own 'Upsetter' label, Niney became chief engineer.
Inspired by Perry's success it wasn't long before his own 'Destroyer' label was under way. It was 1970, and his first production entitled 'Mr Brown' by DJ's Dennis Alcapone and Lizzy, proved to be a minor hit, but his own 'Blood and Fire' track released in December of that year would become a major hit. After initial problems with it's likeness to Bob Marley's track ' Duppy Conqueror' being ironed out, it's reissue on his now named 'Observer' label, saw it go on to become, Jamaican Record of the Year 1971. Far out selling Bob Marley's track to the tune of 30,000 copies in Jamaica alone. A roots classic...
Niney's reputation for building great roots tracks, was furthered with more success working with singer Max Romeo. Issuing cuts such as 'Beard Man Feast', the great 'Reggae Matic' and 'Aily Ailaloo' and renewing his friendship with Lee Perry on the track 'Rasta Band Wagon', who's production credit read Perry, Niney, Maxie. In 1973, Niney began working with Dennis Brown, who was already an established star from an early age, they found a chemistry that went on to produce some of Dennis' finest work. The 1973 hit 'Westbound Train' was followed in 1974 by 'Cassandra', 'I am the Conqueror' and the timeless 'No More Shall I rOam'. Another important connection around this time was the great King Tubby who Niney would take his tapes along to and even record some of his tracks at Tubby's house, 18 Drummlie Avenue, Kingston, which doubles as his Studio of Dub.
It's these tracks that we are concentrating on here. Tubby would strip the tracks back to the bone and rebuild then sometimes leaving off the hook line. Whether that be the horn line or keyboard line and adding effects over the top that could disguise the cut even more. Even Niney stating that when Tubby had finished with a cut, he found it hard to recognise the track himself. Its these tracks as dub plate specials that Tubby would play on his Hometown HI-FI Sound System and it's these such tracks that we have compiled for this release. Dub Plated that have not seen the light of day since tragically the great Osborne Ruddock AKA King Tubby was gunned won and murdered on the 06th December 1989. For a few dollars and a gold chain, reggae music has lost one of it's most creative, inventive forces.

Niney also cut tracks with many other Reggae giants such as Gregory Issacs, Michael Rose, Junior Delgado, Horace Andy and Delroy Wilson to name but a few. As in house producer at the legendry Channel Studios and supervising sessions at Dynamic and Randy's Studio 17, his magic touched many. DJ, Arranger, Producer, his Roots Rebel music still stands the test of time.
Hope you enjoy the set.....

Welcome To Our World is the debut studio album by the Norfolk, VA duo Timbaland & Magoo. First released in 1997 by Blackground Records, the platinum selling album features guest appearances from artists such as Missy Elliot, Aaliyah, Ginuwine, and Playa. Known as a classic among duos in Hip-Hop history, the album features singles such as "Up Jumps Da Boogie," "Clock Strikes," & "Luv 2 Luv Ya."

A family affair since the early days, WOLF Music have been shining a light on the scenes and sounds the duo are ingrained in. Staying true to form and rolling deep for WOLFEP065, the spotlight turns to a selection of familiar faces and new recruits for a four track VA EP that’s strictly for the groovers.

WOLF OG, man like Medlar kicks it off in signature style with 'Bandit', a heads-down, techno-tinged trip. Machine music with the soul of south London. Next, professor of the dark arts, Manuel Darquart, conjures up the aptly named 'Euphoria' a deep, ‘90s leaning house excursion, synth wizardry and all, that works just as well as a sunset cruiser, as it does an end of the night closer.

On the flip, two long time listeners, first time callers, with a double dose of debuts on the label. Jon Sable takes the B1 with 'Infinite Care', offering up that trademark strong and Sable, In Dust We Trust flavour. Deep, emotive, intricate house with a nod to the worlds of Bruk and Chicago house melded together with that NZ feel.

Closing it out, debut number two comes in the form of rising star moon who lays down a beatsy, broken earworm ‘Handmade’ featuring some dreamy bars from Tamu.

Full crew, through and through – this one hits different!

For decades, the voice of Jean Carne has been a crucial part of the American musical landscape, tying together generations of Jazz, Gospel, and R&B artists. Many will recognize Carne from her output in the early 1970s, alongside her then-husband Doug Carn, for the lauded Black Jazz label. As a solo artist, backing vocalist, and vocal coach, she has contributed to and collaborated with the likes of Norman Connors, Doug Carn, Dexter Wansel, Phyllis Hyman, Lonnie Liston Smith, Michael Jackson, and many more. At 74, she shows no signs of slowing down. Her latest collaboration with Ali Shaheed Muhammad and Adrian Younge is a clear demonstration of the continuous referencing of the past to illuminate the future.

CHIWAX proudly presents Steve Bug & Gemini - The Lost Trax (12")
This collaboration happened in 2000 when Spencer was touring in Europe.
While having some days off in Berlin, Alex Lindblad from Backroom Entertainment suggested Steve to invite Spencer to his studio.
Now almost 22 years later, we are deligthed to release this historical session!
Many thanks to Steve, Spencer & Alex!

In a genre belonging to crooners like Marvin Gaye, Sam Cooke, James Brown and Otis Redding, authenticity is a requirement.
Enter Anduze, a unique vocalis whose riffs evoke the retro sounds of the aforementioned artists, but reverently done his way
– a fresh brand, re-imagines and crefted into a modern depiction of the era.

Anduze was raised on his father’s native land of St. Croix in the US Virgin Islands. His distinctive upbringing still lines the
threading of his creative fabric, which continues to expand into all corners of taday’s musical landscape.

It’s been over a decade since Anduze last released a full album. A lot has changed and progressed since then. He left behind the LA/Hollywood nights in exchange for a better quality of life in Athens, Greece. Also, during this span, he’s been a multi-featured artist on collaborations with producers such as Satin Jackets, Art of Tones, LTJ Xperience, Gramatik, and more…

However, his most noteworthy ascent is as lead singer (and songwriter) of Austrian act, Parov Stelar, with whom he tours
worldwide. Still, with all his accomplishments within the electronic world, it was time for Anduze to get back to his own sound – SOUL.

Using the pandemic as an opportunity, instead of a crutch, Anduze recorded “Aura,” a nine-song album that blurs the lines of
soul, funk, pop, folk, and R&B, with 20 contributing musicians.
If you like Prince, Michael Jackson, Marvin Gaye, Lenny Kravitz, Terence Trent D’arby etc…this album takes influences from
all their best moments and combines them into one mighty explosion that is simply, ANDUZE.
These days he is also living the new life of his song in collaboration with LTJ Xperience entitled Bad Side which has been
included in the new game update for Play Station GTA 'Los Santos' starring the DJ producer Moodyman and in the soundtrack of the new series And Just Like That, a popular follow-up to Sex And The City, which aired worldwide.

"This fabled 11 minute+ version of Brazilian icon Joyce's groundbreaking "Feminina" was recorded at Columbia Studios, New York in 1977, for the as yet unreleased Natureza album. Produced, arranged and conducted by the great Claus Ogerman (Frank Sinatra, Antonio Carlos Jobim, Billie Holiday... the list goes on), Natureza would have ostensibly been Joyce's big break to international stardom, but mysteriously it was never released. With Joyce came fellow Brazilian icons Mauricio Maestro, Nana Vasconcelos and Tutty Moreno, and Ogerman employed North American jazz legends Joe Farrell, Michael Brecker, Buster Williams and Mike Manieri. In anticipation of the monumental forthcoming Natureza album release via Far Out Recordings, this astonishing version of a true classic gets it's first proper 12" release for Record Store Day 2022. In the spirit of making the release special for RSD, rather than make it a single sided 12", Far Out boss called up Joyce to talk about the recording, recorded the conversation, and pressed it to vinyl on the B side."

A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online.