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" Joe Pass’ For Django, recorded for Pacific Jazz in 1964, has long been considered a classic of the jazz guitar repertoire with Pass paying tribute to Django Reinhardt without in any way attempting to emulate him. Rather, Pass honours Django using his own masterful guitar style joined by fellow guitarist John Pisano as well as bassist Jim Hughart and drummer Colin Bailey.
Highlights in this program of tunes either composed by or associated with Django include “Rosetta,” “Nuages,” and “Fleur D’ Ennui.”.
Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI)."

From director George Miller, originator of the post-apocalyptic genre and mastermind behind the legendary Mad Max franchise, comes Mad Max: Fury Road, a return to the world of the Road Warrior, Max Rockatansky. An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken and almost everyone is crazed fighting for the necessities of life.

The film’s epic score is written by Tom Holkenborg, aka Junkie XL, a Grammy nominated and multi-Platinum producer, musician and composer. Junkie XL’s versatility puts him on the cutting edge of contemporary music, as well as in the vanguard of exciting film composers. He is able to draw on his extensive knowledge of classical forms and structures while keeping one finger planted firmly on the pulse of popular music. When this eclectic background is paired with his skill as a multi-instrumentalist (he plays keyboards, guitar, drums, violin, and bass) and mastery of studio technology, a portrait emerges of an artist for whom anything is possible.

South London genre-blending story tellers Alabama 3 are set to further add to their rich musical heritage with a new single ‘Whacked’, available April 30th via Submarine Cat Records, with an album to follow later inAugust.

‘Whacked’ is the first taste of fresh Alabama 3 material since the tragic passing of their beloved and unconventional frontman and songwriter Jake Black, aka The Very Reverend D. Wayne Love, in May of 2019. Jake had Addison’s disease and passed away several days after falling ill during a show at the HighestPoint Festival in Lancashire at only 59 years old.

Then, with the Covid-19 pandemic and lockdown upon the world, the band got creative and submerged themselves in their music, teaming up with producer Cam Blackwood(George Ezra, Jack Savoretti, Tom Walker, Frank Carter and the Rattlesnakes…) to focus their minds on something vital, new and fresh. This can clearly be heard in ‘Whacked’, a song which pays respect to the late co-writer of the song, Pete Dunne.

"A product of old skool Brixton, the legendary Seven Kevin’s Pete Dunne threatened us with this song prior to his untimely death,” explains founding member Larry Love. “Despite the heavy manners we are proud to declare we rose to the challenge."

“Whacked was made in the early weeks of the first UK lockdown in March 2020,” remembers producer Cam Blackwood. “I think the hedonistic spirit of the song was amplified a million times by the fact we were making the record remotely - with the musicians in the band recording their parts at home, sending them all to me to collate and arrange - then I would send the instrumental track to Larry to record vocals on. The energy was pretty insane - we were like caged animals desperate to get out.

“We managed to find time three months later (when the first lockdown ended in July 2020) to get together and put the finishing touches to the song,” continues Cam. “Being in the studio with a few beers seemed like a fitting way to finalise the tune and put the last 1% of energy into the recording. This song feels like classic Alabama 3 to me. It’s a banger!”

Indeed it is. A low-slung groove propelled by frontman Larry Love’s infamous throat rattle, with the addictive chorus refrain ‘everybody’s getting whacked on something, something that makes them feel good,’ ‘Whacked’ will loop around your brain like a recurring dream you can’t wake from. These are hedonistic conscious unconscious times.

“You can praise the Lord, you can pass the ammunition, you can be woke you can be wicked you can have the wisdom of Solomon but unless you are ready to get whacked with Alabama 3 there’s no point in dreaming,” states Larry. “Rearrange the rubble, paint your bomb shelters and make sure everybody in the neighbourhood feels good cos we feel like getting stooped and you need to get whacked.”

Alabama 3 are very much back. Time to get whacked.

Rare South African Funk/Soul album from 1977 - First vinyl reissue since 1982 - First ever release outside of the African Continent - 180g black vinyl // Harari was a band that was deeply rooted in pan-African politics, the parallel cross-influences of the Black Panther Movement and Black Consciousness. African American soul music and Soweto Soul contributed to the way Harari became purveyors of all the styles we know today as Afro-soul, Afro-pop and Afro-jazz. The Beaters/Harari left behind a body of work that fused traditional African sounds with rock, funk, jazz, soul and psychedelia into a unique and coherent sound. It shows their ability to capture the many genres flying around South Africa during a time of intense political and cultural shifts. The album we are presenting you today (Genesis from 1977) comes swinging right out the gate with a set of six monster anthems, explosive up-tempo jams, gorgeous vocal harmonies and chants, Afro-centric fusions of rock, funk and indigenous influences. The album is packed with mesmerizing drum-grooves, psychedelic improvisations and catchy Afrobeat rhythms. This is a quintessential Harari record that every serious collector or fan needs to have in his collection. Originally released in 1977 on Gallo Records South Africa (and later repressed in 1982 on the same label), Tidal Waves Music now proudly presents the first official reissue of this rare album (original copies tend to go for LARGE amounts on the secondary market_that is if you're lucky enough to come across one). This is also the FIRST time 'Genesis' is being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and featuring the original artwork.

Kostantyn Isaev the man behind the project Volta Cab and also Rambal Cochet is now part of the Waste Editions family. The St. Petesburg’s colorful artist has just recorded 6 catchy and powerful tunes which are heavily influenced by the new wave/post punk music of the late 80’s , especially by bands like Кино (Kino) and the Soviet space disco as well.

"Laurel Hell" ist ein Soundtrack zur Transformation. Eine Landkarte für den Ort, an dem Verletzlichkeit und Widerstandsfähigkeit, Trauer und Freude, Fehler und Transzendenz in unserer Menschlichkeit Platz finden und als würdig angesehen werden können - um letztendlich anerkannt und geliebt zu werden. "I accept it all," verspricht MITSKI. "I forgive it all." Auf "Laurel Hell" festigt MITSKI ihren Ruf als Künstlerin, die die Kraft besitzt, unsere wildesten und zwiespältigsten Erfahrungen in ein heilendes Elixier zu verwandeln. "I wrote what I needed to hear. As I've always done." Nach der Veröffentlichung von "Be The Cowboy", einem der meistgelobten Alben des Jahres 2018, das von Outlets wie Pitchfork (u.a.) zum Album des Jahres gekürt wurde, stieg MITSKI vom Kultliebling zum Indie-Star auf. Mit spürbaren Folgen: Die Schinderei des Tourlebens und die Fallstricke die mit der erhöhten Sichtbarkeit einhergingen, beeinflussten ihre Musik ebenso wie ihren Geist, die sich in der ersten Single "Working For The Knife" niederschlägt. Ein Song, wie ein Prüfstein für das Gesamtgefühl von "Laurel Hell": "I start the day lying and end with the truth / That I'm dying for the knife." "Be The Cowboy" wurde von weiblicher Stärke und Trotz angetrieben, lebte jedoch von seinem Spiel mit Masken. Wie der Berglorbeer bzw. die "laurel hell", nach dem das neue Album benannt ist, kann die öffentliche Wahrnehmung, wie das berauschende Prisma des Internets, eine verlockende Fassade bieten, hinter der sich eine tödliche Falle verbirgt. Die sich immer enger zieht, je mehr man sich anstrengt. "I got to a point, where I just knew that if I kept going this way, I would numb myself to completion." Erschöpft von diesem verzerrten Spiegel und unserer Sucht nach falschen Binaritäten, begann MITSKI, Songs zu schreiben, die die Masken abstreifen und die komplexen und oft widersprüchlichen Realitäten dahinter offenbaren. MITSKI dazu: "I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself. I make mistakes all the time. I don't want to put on a front where I'm a role model, but I'm also not a bad person. I needed to create this space mostly for myself where I sat in that gray area." Die daraus entstanden Songs verkörpern genau diesen Raum. Wie die zweite Single des Albums, "The Only Heartbreaker", die gemeinsam mit Dan Wilson geschrieben wurde und der erste Song dieser Art in ihrer Diskografie ist. "The Only Heartbreaker" verbindet treibenden 80er-Pop mit einem trügerisch einfachen Text, dessen aufrichtiger Refrain ins Ironische kippt, sobald dieser "the person always messing up in the relationship, the designated Bad Guy who gets the blame," beschreibt und sich zugleich fragt, ob "the reason you're always the one making mistakes is because you're the only one trying." MITSKI schrieb viele Songs für "Laurel Hell" während und teilweise vor 2018. Das Album wurde allerdings erst im Mai 2021 final abgemischt. Es ist die längste Zeitspanne, die MITSKI jemals für ein Album gebraucht hat und für die Musikerin inmitten einer radikal veränderten Welt endete. MITSKI nahm "Laurel Hell" mit ihrem langjährigen Produzenten Patrick Hyland in der Zeit der Isolation während der Pandemie auf, als einige der Songs "slowly took on new forms and meanings, like seed to flower." Das Album als Ganzes entwickelte sich "to be more uptempo and dance-y. I needed to create something that was also a pep talk" erklärt MITSKI. Die Spannung, die zwischen ihren raffinierten, aber wehmütigen Texten und dem sprudelnden Pop-Sound der 1980er Jahre entsteht, ist eine dringend benötigte Infusion in Zeiten wie diesen und das Werk einer reifen wie unwiderstehlichen Künstlerin, die auch zu fröhlich ansteckenden Dance-Beats immer noch etwas Profundes beizutragen hat.

"Laurel Hell" ist ein Soundtrack zur Transformation. Eine Landkarte für den Ort, an dem Verletzlichkeit und Widerstandsfähigkeit, Trauer und Freude, Fehler und Transzendenz in unserer Menschlichkeit Platz finden und als würdig angesehen werden können - um letztendlich anerkannt und geliebt zu werden. "I accept it all," verspricht MITSKI. "I forgive it all." Auf "Laurel Hell" festigt MITSKI ihren Ruf als Künstlerin, die die Kraft besitzt, unsere wildesten und zwiespältigsten Erfahrungen in ein heilendes Elixier zu verwandeln. "I wrote what I needed to hear. As I've always done." Nach der Veröffentlichung von "Be The Cowboy", einem der meistgelobten Alben des Jahres 2018, das von Outlets wie Pitchfork (u.a.) zum Album des Jahres gekürt wurde, stieg MITSKI vom Kultliebling zum Indie-Star auf. Mit spürbaren Folgen: Die Schinderei des Tourlebens und die Fallstricke die mit der erhöhten Sichtbarkeit einhergingen, beeinflussten ihre Musik ebenso wie ihren Geist, die sich in der ersten Single "Working For The Knife" niederschlägt. Ein Song, wie ein Prüfstein für das Gesamtgefühl von "Laurel Hell": "I start the day lying and end with the truth / That I'm dying for the knife." "Be The Cowboy" wurde von weiblicher Stärke und Trotz angetrieben, lebte jedoch von seinem Spiel mit Masken. Wie der Berglorbeer bzw. die "laurel hell", nach dem das neue Album benannt ist, kann die öffentliche Wahrnehmung, wie das berauschende Prisma des Internets, eine verlockende Fassade bieten, hinter der sich eine tödliche Falle verbirgt. Die sich immer enger zieht, je mehr man sich anstrengt. "I got to a point, where I just knew that if I kept going this way, I would numb myself to completion." Erschöpft von diesem verzerrten Spiegel und unserer Sucht nach falschen Binaritäten, begann MITSKI, Songs zu schreiben, die die Masken abstreifen und die komplexen und oft widersprüchlichen Realitäten dahinter offenbaren. MITSKI dazu: "I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself. I make mistakes all the time. I don't want to put on a front where I'm a role model, but I'm also not a bad person. I needed to create this space mostly for myself where I sat in that gray area." Die daraus entstanden Songs verkörpern genau diesen Raum. Wie die zweite Single des Albums, "The Only Heartbreaker", die gemeinsam mit Dan Wilson geschrieben wurde und der erste Song dieser Art in ihrer Diskografie ist. "The Only Heartbreaker" verbindet treibenden 80er-Pop mit einem trügerisch einfachen Text, dessen aufrichtiger Refrain ins Ironische kippt, sobald dieser "the person always messing up in the relationship, the designated Bad Guy who gets the blame," beschreibt und sich zugleich fragt, ob "the reason you're always the one making mistakes is because you're the only one trying." MITSKI schrieb viele Songs für "Laurel Hell" während und teilweise vor 2018. Das Album wurde allerdings erst im Mai 2021 final abgemischt. Es ist die längste Zeitspanne, die MITSKI jemals für ein Album gebraucht hat und für die Musikerin inmitten einer radikal veränderten Welt endete. MITSKI nahm "Laurel Hell" mit ihrem langjährigen Produzenten Patrick Hyland in der Zeit der Isolation während der Pandemie auf, als einige der Songs "slowly took on new forms and meanings, like seed to flower." Das Album als Ganzes entwickelte sich "to be more uptempo and dance-y. I needed to create something that was also a pep talk" erklärt MITSKI. Die Spannung, die zwischen ihren raffinierten, aber wehmütigen Texten und dem sprudelnden Pop-Sound der 1980er Jahre entsteht, ist eine dringend benötigte Infusion in Zeiten wie diesen und das Werk einer reifen wie unwiderstehlichen Künstlerin, die auch zu fröhlich ansteckenden Dance-Beats immer noch etwas Profundes beizutragen hat.

"Laurel Hell" ist ein Soundtrack zur Transformation. Eine Landkarte für den Ort, an dem Verletzlichkeit und Widerstandsfähigkeit, Trauer und Freude, Fehler und Transzendenz in unserer Menschlichkeit Platz finden und als würdig angesehen werden können - um letztendlich anerkannt und geliebt zu werden. "I accept it all," verspricht MITSKI. "I forgive it all." Auf "Laurel Hell" festigt MITSKI ihren Ruf als Künstlerin, die die Kraft besitzt, unsere wildesten und zwiespältigsten Erfahrungen in ein heilendes Elixier zu verwandeln. "I wrote what I needed to hear. As I've always done." Nach der Veröffentlichung von "Be The Cowboy", einem der meistgelobten Alben des Jahres 2018, das von Outlets wie Pitchfork (u.a.) zum Album des Jahres gekürt wurde, stieg MITSKI vom Kultliebling zum Indie-Star auf. Mit spürbaren Folgen: Die Schinderei des Tourlebens und die Fallstricke die mit der erhöhten Sichtbarkeit einhergingen, beeinflussten ihre Musik ebenso wie ihren Geist, die sich in der ersten Single "Working For The Knife" niederschlägt. Ein Song, wie ein Prüfstein für das Gesamtgefühl von "Laurel Hell": "I start the day lying and end with the truth / That I'm dying for the knife." "Be The Cowboy" wurde von weiblicher Stärke und Trotz angetrieben, lebte jedoch von seinem Spiel mit Masken. Wie der Berglorbeer bzw. die "laurel hell", nach dem das neue Album benannt ist, kann die öffentliche Wahrnehmung, wie das berauschende Prisma des Internets, eine verlockende Fassade bieten, hinter der sich eine tödliche Falle verbirgt. Die sich immer enger zieht, je mehr man sich anstrengt. "I got to a point, where I just knew that if I kept going this way, I would numb myself to completion." Erschöpft von diesem verzerrten Spiegel und unserer Sucht nach falschen Binaritäten, begann MITSKI, Songs zu schreiben, die die Masken abstreifen und die komplexen und oft widersprüchlichen Realitäten dahinter offenbaren. MITSKI dazu: "I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself. I make mistakes all the time. I don't want to put on a front where I'm a role model, but I'm also not a bad person. I needed to create this space mostly for myself where I sat in that gray area." Die daraus entstanden Songs verkörpern genau diesen Raum. Wie die zweite Single des Albums, "The Only Heartbreaker", die gemeinsam mit Dan Wilson geschrieben wurde und der erste Song dieser Art in ihrer Diskografie ist. "The Only Heartbreaker" verbindet treibenden 80er-Pop mit einem trügerisch einfachen Text, dessen aufrichtiger Refrain ins Ironische kippt, sobald dieser "the person always messing up in the relationship, the designated Bad Guy who gets the blame," beschreibt und sich zugleich fragt, ob "the reason you're always the one making mistakes is because you're the only one trying." MITSKI schrieb viele Songs für "Laurel Hell" während und teilweise vor 2018. Das Album wurde allerdings erst im Mai 2021 final abgemischt. Es ist die längste Zeitspanne, die MITSKI jemals für ein Album gebraucht hat und für die Musikerin inmitten einer radikal veränderten Welt endete. MITSKI nahm "Laurel Hell" mit ihrem langjährigen Produzenten Patrick Hyland in der Zeit der Isolation während der Pandemie auf, als einige der Songs "slowly took on new forms and meanings, like seed to flower." Das Album als Ganzes entwickelte sich "to be more uptempo and dance-y. I needed to create something that was also a pep talk" erklärt MITSKI. Die Spannung, die zwischen ihren raffinierten, aber wehmütigen Texten und dem sprudelnden Pop-Sound der 1980er Jahre entsteht, ist eine dringend benötigte Infusion in Zeiten wie diesen und das Werk einer reifen wie unwiderstehlichen Künstlerin, die auch zu fröhlich ansteckenden Dance-Beats immer noch etwas Profundes beizutragen hat.

A rarities album of the first incarnation of Marc Bolan’s Tyrannosaurus Rex featuring Steve Peregrine Took. • The First LP collects all the tracks from the early first two sessions from the summer of ’67 • The second LP collects rare and unused alternate versions recorded over the following two years until the departure of Steve Took.• Presented in a deluxe gatefold sleeve with unpublished photos licenced from photographer Pete sanders ( who was responsible for 3 of the 4 Tyrannosaurus Rex LP covers + the first T. Rex LP cover ) • In depth Liner notes by Andrew J Gardner and all royalties go to The Light of Love Foundation for the Marc Bolan School of Music & Film

For his 1973 debut album as a bandleader,
Lonnie Liston Smith assembled a killer
band of Cecil McBee on bass, George
Barron on sax, James Mtume and Sonny
Morgan on percussion, David Lee, Jr. on
drums, Badal Roy on table, Geeta Vashi
on tamboura, and Joe Beck on guitar.
Such a multifaceted ensemble was
perfectly suited to explore the spiritual
jazz that Smith had encountered while playing
with Pharoah Sanders (“Let Us Go into the House of the Lord” appears here
and on Sanders’ 1970 album Summun Bukmun Umyun which featured Smith),
all presided over by Flying Dutchman label owner and former John Coltrane
producer Bob Thiele. We’ve re-created the original gatefold artwork with Nat
Hentoff’s liner notes…one of the great jazz albums of its era!

Hands up, hands up, hands up for the champ! Champagne comin' cool and correct with the sweet reggae vibes on his Bonafide imprint ( sister label to Midnight Sun Recordings) featuring the man like Dimention spitting hot fire - hot like pepper sauce! Lionhearted, soulful, melodic riddim's taking you deep into the jungle. On the flip, rough and ready, delivering the remix goods is none other than Greek Junglist badman FLeCK puttin' it down in fine style! Taking things up a notch for the dance floor massive. You ready for this, yes we ready for this, right now we ago kick it off!

"In the beginning of the 2000's being a producer or a DJ wasn't cool, it was something for nerds. And no one was so crazy to spend all their money in machines. I was going to the clubs in the weekend and when everyone was going to the afterparty i was going to work for a little money to be able to make music, music that I wanted to be play by all these big DJ's I had the chance to see, and I made it."
- Tells Hector Sandoval AKA Tensal Aka Syndromania to me and some other younger DJS (P.E.A.R.L, Jheal Bashta) while we drink a beer in Gijon north of Spain, city close to the town where Syndromania is based. -

After hundreds of records released and the recognition of every single artist of the scene. Few has changed for Syndromania, he keeps getting immersed in his studio with the same love although now with another point of view plus the experience to twist it to the next level.

DJing since 1993 his musical knowledge may be in the top 5 more knowledgeable people I ever met. As you can hear along the 6 cuts of this Sacrilegio EP it's fully rooted on straight messages and codes that have been filling up years of rave culture with a new take on them in order to optimize them for a contemporary rave experience.

From UK infected electro, mechanical-industrial techno music, leaning Chicago house cut to a tremendous take on techno-trance. This record is one of my favorites ever released on OAKS/KAOS and one of the ones that I'm sure that sets the level to inspire many to reinvent and develop our culture.

To be honest Sacrilegio is one of the records I'm more proud about of all in our catalogs. Thanks to Syndromania for this extraordinary piece of art and DJ apex tool which won't ever leave my record bag, neither probably yours."
Respeto.
Hector.

#oftenplusneverminus8

Fronted by brothers Peter O'Doherty and Reg Mombassa, Dog Trumpet have been playing, writing and recording their
music since the early 90s. Reg and Pete were founding members of iconic Australian band Mental As Anything, who hit
the charts around the world with “Live It Up”. The band made a mark with their left field mix of music, art, video and
humour and leading eventually to ARIA awards and induction into the Hall of Fame in 2009.

Recorded and produced by Peter at home in his 'South Road' studio, the brothers have created an inventive and original
body of work distinguished by an eccentric and offbeat harmonic warmth and melodic drive propelled by Reg's
distinctive slide guitar and Peter's elegant acoustic guitar and mandolin. Their poetic, yet at times absurdist lyrics are set
against a sonic backdrop that could loosely be described as a meld of rock and roll, psychedelic folk, country and semiabstract blues.

Released in 2020, “Great South Road” is their seventh album, and features “Wallpaper”, “Gravity”, “You’ve Heard It All
Before” and “Oversea And Elsewhere”.

Hitting hard with funk, rap, and soul, paired with powerful messages throughout, Lack of Afro's I'm Here Now (aka Adam Gibbons), his seventh studio album, continues his style of funky, bassline-rich tracks combined with perfectly chosen features and collaborations.

Heavenly Recordings announce the release of ‘Heavenly remixes 3&4 - Andrew Weatherall volume 1&2’, a brace of compilation albums collecting together some of the finest remixes from the label’s long-time friend, collaborator and go-to remixer. These compilations follow ‘Heavenly remixes 1 & 2’, which showcases some of the label’s other great remixes.

 By the time Heavenly was born in the spring of 1990, Andrew Weatherall was already an inspirational sounding board, as well as a fellow traveller on the bright new road that stretched out ahead, thanks to the massive cultural liberation of acid house. Back then every energised meeting could be turned into a fortuitous opportunity in this burgeoning new underground economy. Bored of your job? Start playing records out! Start a club night! Get in the studio!
Start a label! Just don’t stand still. Commandments Andrew would follow for the rest of his life.

 At the start of things, Andrew was a regular visitor to Capersville - the pre-Heavenly press office run by label founder Jeff Barrett (soon to become Andrew’s manager). It was there that he famously picked up a copy of Primal Scream’s unloved second album and singled out a
track that would later become ‘Loaded’, after being given an instruction to “fucking destroy” it by the band’s Andrew Innes; it was there too that the idea to remix the first Heavenly release
came about.

 Andrew’s mix of that first Heavenly record is very much a product of its time. ‘The World According To Sly and Lovechild’ is a swirling bass punch topped with a hypnotic marimba line and the kind of ecstatic diva vocal that you’d hear coming out of the speakers all night at postShoom clubs like Yellow Book.

 His take on the label’s next release - Saint Etienne’s ‘Only Love Can Break Your Heart (A Mix of Two Halves’) - would set the template for his next three decades of audio exploration. A drawn-out imperial dub, the track builds and builds with a moody intensity (partly down to the
melodica played by Weather Prophets legend Pete Astor) that’s far more Kingston JA at dusk than Kingston-upon-Thames at kicking out time. It’s both a dancefloor record to get lost in and
headphone psychedelia of the highest order - a perfect example of what he did better than anyone else.

 Between 1990 and his untimely death in 2020, Andrew fed more Heavenly bands through the mixing desk than those of any other label. Consistently, he returned visionary music to the
office, often in person for (at least) one ceremonial playback - a ritual that would involve the volume cranked up high and Andrew rocking back on his heels, eyes closed, lost in the alchemy of it all.

 Each time, he would warp and twist originals into beautiful new shapes - elasticated club records that might evoke Detroit techno one second and Throbbing Gristle the next, before wheel-spinning into something akin to The Fall produced by King Tubby.

 Andrew’s studio adventures would always be guided by that early advice to destroy the source material. It’s why he was the first name that came up when remixes were discussed; the first number on the speed dial. Listening back to these remixes now - to thirty years of glorious outsider sounds - it bangs home again just how fucking good Andrew was.

Eric's new solo album 'Always', his first on Provogue, an imprint of Mascot
Label Group, sees him venture into an elaborate mix of blues, funk, rock
and soul – a sunny, funky and laid back album combining the vibe of
1970s Laurel Canyon, swaths of Hammond B3 organ, a rhythm section
that appear to be joined at the hip, and of course that punchy Eric Krasno
guitar sound
It evokes the spirit of Sly Stone, D'Angelo, Lenny Kravitz, and, dare we say his
name, Prince? 'Always' also alludes to the album cover, showing Eric's wife, then
pregnant with their now born son. This album is dedicated to them.

As the sweary, confrontational title suggests, this four-tracker from Detroit hero Omar-S is like a musical expansion pack for his much-discussed recent album, F*ck Resident Advisor. The no-nonsense Detroiter starts in fine fashion with 'Gonna Love You', a jaunty, piano-sporting peak-time loop jam crafted from old school vocal samples and snippets from a killer disco record, before reaching for cosmic synth sounds, lilting melodies and a melancholic mood on the starry deep house jam 'Bread Over Bed'. He subtly doffs a cap to Dance Mania style ghetto-house on the quirky, club-ready cheekiness of 'Shut Up', before smothering a classic house groove with heady hand percussion and snaking synth lines on dense and energetic closing cut 'Sloppy Joe'.

Led by the unique lyrical and vocal talents of Larissa Stupar, VENOM PRISON’s rise to prominence has been swift and exhilarating. Both 2016 debut album “Animus” and its 2019 follow-up “Samsara” received widespread praise from media and fans alike, while the band’s ferocious live shows notched up acres of wide-eyed acclaim. As a result, the release of VENOM PRISON’s third full-length, “Erebos”, is destined to be one of /the/ metal events of 2022. A wildly inventive but utterly destructive onslaught of genre-defying extremity, “Erebos” is a giant leap forward and deafening confirmation that VENOM PRISON are the real, ground-breaking deal. “Everything needed to be bigger, better, catchier,” says guitarist Ash Gray. “We have said many times in the past that this band will not write the same record over and over again. It wasn’t about showing how heavy we can be. We know we’re a heavy band. We just wanted to be more creative, and this time we had the luxury of having time on our side. Larissa’s distinctive style comes through even stronger. It’s even more poetic, while still critical of the issues we face in Western society.” A thrilling explosion of artful savagery, warped melodies and tumultuous atmospherics, “Erebos” is a powerful, defining statement from one of the most exciting bands of the modern era. From humble origins to undisputed heavyweight status, VENOM PRISON are now an unstoppable force. “’Erebos’ has really opened our horizons as a band, making us want to be more creative as a whole. For us, it has always been about evolving musically and progress with every single step we take, and that will never change. We have a lot more to explore and we are confident that we’re capable of doing so. The grind must continue.”

Abhoria was created by guitarist Vor (aka, Trevor Portz of Ashen Horde) as a way to satiate his appetite to play classic, aggressive black metal. Recruiting some top-notch players from the L.A. metal underground to join him, he rounded out the band with vocalist Walthrax (ex- Catheter) and bassist Koszmar (Vimana). The band quickly got to work on their debut album with engineer Shane Howard (Vale of Pnath, Martriden, Helleborus), and the result is a black metal album that harks back to the 90s black metal scene, but with modern production. While rooted in the more brutal side of black metal, the album blends the requisite blast beats and tremolo picked guitars with many melodic passages, doom-inspired detours and a variety of tempos. While “Mountebank” is a relentless blitz of high-speed black metal, closing track “Sunless” is a seven-minute epic that incorporates mid-paced, atmospheric grooves and clean vocals. Though the energy never relents, the album is not relentless. Abhoria is hellbent on carrying on the musical torch of the genre’s founding fathers Immortal, Dark Funeral and Emperor.

• Pete Tong shares new Ibiza Classics collaborations EP on 12” Vinyl, Pete Tong + Friends: Ibiza Classics, released on Ministry of Sound.

• Essential sounds of the White Isle reimagined with Kölsch, Riton, Tale Of Us, ARTBAT, Eats Everything, Vula, Becky Hill, Jules Buckley and more

• “Collaborating with the Heritage Orchestra and GRAMMY-winning conductor and composer Jules Buckley has been a match made in Balearic heaven.” – Mixmag

• Latest single Love Can’t Turn Around has spent a month on the Radio 2 playlist including two weeks on the Radio 2 A List (Jan 2022).

• Further Radio support for the EP including from tastemakers Radio 1 Danny Howard, Sarah Story, Pete Tong, Charlie Hedges

• Pete Tong completed his legendary Ibiza Classics tour in November & December 2021 including dates in Brighton, Manchester, Birmingham, Nottingham and two nights at London’s The O2. He has already announced his dates for 2022

In the third of the series, we move to 1973 Detroit, we have been so excited bringing this through to pressing and it has been a long but exciting and rewarding road and we hope you enjoy listening to this this 45 taken directly from the Universal master tapes and brought to you 48 years after its initial release on promo only format. Now available under licence and blessings from Universal Music Group on the Black Top series from us.

Is it good – oh yes – but don’t take our word for it, crank the volume up and hit play.

The A side – Young Train is a fabulous funkedged dancer with a message for us all even today, driven by the constant wah wah guitar and bongos. flip it over for a feelgood crossover dancer that has already been getting radio airtime on some of the UKs best soul stations.

Young Train by the Originals. This incredibly rare 45 is a poignant reminder that 48 years later the struggle continues today for equality and harmony for all.

The title “Young Train” is a brilliant collaboration of using Colemans surname and a hark back to the freedom songs enshrined in the blues and soul history of Black America, think Freedom Riders, Southbound train, Midnight train to Georgia to name but a tiny number. It captured the imagination of Detroit leading to the inauguration of the First Black Mayor of Detroit in 1974. Coleman Young captured the hearts and minds of the people of Detroit, some of his actions and associates led to questions around his fitness for office, but the moment in time lives forever in this exclusively rare 45 now brought to you with the blessings of Universal Music Group via MD Records.

On a final note, it is in many ways incredibly sad that this anthemic song still holds a valid call to action in its message in 2021. So, turn the volume up and get on board the “Young Train” for democracy and equality.

Big thanks go out to Karl “Chalky” White for material used in the sleeve.

All aboard for the third release in the Blacktop series from the MD Collective.

Mit Priorities (2012), Automatic (2015) und Technology (2018) hat das Quartett aus Bedford seinen eigenen Weg eingeschlagen, indem es heftige Riffs mit unwiderstehlichen Pop-Melodien auf Alben verband, die frech, aber beschwingt, wild, aber raffiniert sind und dabei ganz anders klingen als alle anderen. Offensichtlich war dies auch ein Erfolgsrezept, denn Technology erreichte Platz 5 der britischen Albumcharts.

Doch selbst bei einer Diskografie, die sich durch verwirrende Erwartungen auszeichnet, kann nichts die Hörer auf Amazing Things vorbereiten - mit seiner Fülle an Stilen, Emotionen und popkulturellen Anspielungen ist es das brennbarste Pulverfass einer Platte seit Limp Bizkits Chocolate Starfish and the Hot Dog Flavored Water. Es ist eines der besten Alben des Jahres, und zweifellos das exzentrischste.

printed spined outer sleeve, plain inner, 12-page booklet

Mit ihrem neuen Studioalbum zelebrieren Bastille das Lebensgefühl im digitalen Zeitalter – sie feiern das Menschsein in der Tech-Ära und fangen dieses seltsame Gefühl ein, in einer Welt zu leben, die sich manchmal wie Science-Fiction anfühlt.

„In dieser apokalyptischen Phase an diesen neuen Songs zu arbeiten, wo plötzlich jeder zu Hause festsaß, rund um die Uhr vor dem Bildschirm, machte das Gefühl, dass es zunehmend schwerer wird zu
unterscheiden, was nun wirklich ist und was nicht, nur noch stärker“, so der Singer Songwriter Dan Smith. Das Album ist durchzogen mit Anspielungen und Referenzen aus Sci-Fi-Filmen und -Romanen sowie aus den Bereichen Videogames und Virtual Reality. Alles dreht sich um grenzenlose Möglichkeiten und einen fiktiven (aber durchaus vertraut wirkenden) Tech-Giganten namens Future Inc., verantwortlich für eine Erfindung namens Futurescape: ein Gerät, mit dem User:innen die eigenen Träume virtuell ausleben können.

Mit „Give Me The Future“ entführen Bastille ihre Hörer:innnen also in ein Sci-Fi-Wunderland, in dem alles möglich ist. Ihr viertes Studioalbum erscheint als CD und 12“ Vinyl.

The new album by the Peruvian-born / Berlin-based experimental artist Ale Hop was conceived in a context of immobility and provides six sonic vignettes that wonder about location, circularity, rootedness and experience. In collaboration with Ana Quiroga,
Concepcion Huerta, Daniela Huerta, Elsa M'balla, Felicity Magan, Fil Uno, Ignacio Briceño, KMRU, Manongo Mujica, Moises Horta, Nicole L'huillier, Raul Jardín, Sukitoa Onamau, Tomas Tello.

Following her explorations on music's inherent fixation to geographic space and time, be it through the longing of home ("Apophenia" 2019) or scientific magnification of invisible worlds ("The Life of Insects" 2020), Berlin-based Peruvian-born experimental composer Ale Hop's fourth album, "Why Is It They Say a City Like Any City?", was conceived in a context of immobility. During the lockdown
months, she started a process of remote collaboration, by sending messages, posted from various cities along a South American trip, to thirteen musicians from around the world. She journaled her impressions upon these places to an intimate fictional character while reflecting on matters of time,
sound, space, cosmology and colonial memory. The thirteen musicians dialogued with this voice by taking upon the challenge of responding to the messages with sound collaborations.
Field recordings, mouth drumming, drone cellos, electronic loops, arrhythmic rhythms and voices came back from this experiment. Ale assembled them, by layering, twisting and turning, into sonic vignettes that wonder about location, circularity, rootedness and experience, making it the first time she's set her guitar aside. Expect no answers to the album's title question, but an innermost psychedelic rumination.
"Despite the technological resources that appear to dilute distances, the simulation of closeness mirrored on the digital space is an emptied body, a state of precarity, a flat surface; unable to withhold an experience of exchange," Ale states. "So, I began this project by asking myself, how can we escape from the reduced experience of the virtual? The idea behind this experiment was that my messages and the places they describe could drive the composition, be a catalyzer, a
score. Thus, to use geography as a tool to remember and imagine, to allow new soundscapes to emerge."
"Memory, diffuse and divergent, sometimes reaches out to the future in its search for form, taking shape from the reflections and echoes that come back … like throwing a rock in a pond and having a rock thrown back at you."

After 6 years and 7 volumes, the Tramp Records crew invites you to join them on yet another enlightening journey into soulful Jazz, Folk and Funk from the 1970s.

This 8th volume contains nineteen Jazz, Soul and Folk nuggets from between the late 1960s and the late 1970s. One of the many highlights is the opening track by Bobby Cole which is most likely one of the finest independently produced vocal jazz recordings ever put on wax. So true. Oscar Brown Jr. and Mark Murphy sends its regards. But that's just the beginning. Praise Poems Vol.8 covers a wide selection of genres, from big band jazz (Helmut Pistor's Big Rock Jazz Band and Germany's own Ladykiller) to psych-pop (Portraits in Sound, Harve and Charee and Allison & Shaffer), from folk-rock (Flash, Garndarf and the incredible Fang Buzbee) to AOR (The Menagerie and Penn Central), completing the set with a handful of melancholic folk beauties, most notably Hans Hass Jr.'s mind-blowing "Welche Farbe hat der Wind".

Very few compilation series' release as many as eight volumes and those that get that far often start to run out of quality music or meander too far from their original artistic direction. That certainly is not the case with the "Praise Poems" series which leaps from strength-to-strength as our team of compilers and researchers continue to unearth lost and often overlooked music from an era long gone. Many of these records were released in small quantities as private pressings or by small regional labels. Obviously, those labels neither had the budget, expertise, nor options to promote their releases in a sweeping way. Therefore the majority of these artists failed to find the wider audience their music so richly deserved.

Funky organ groove with a spritual soul swing !

One of the most influential and underground Hammond organists of the 1960's was "Big" John Patton as he was then known. If it was the groove that you wanted Patton was your Man and he made several albums for the legendary Blue Note label, many of which went on to sell for eye watering prices. As his style went out of favor, some of the recordings never saw the light of day until almost 20 years later and at the same time Patton slipped into the background. He resurfaced in the 1980s and went into the studio. Among his albums Soul Connection, originally released in 1983 on Nilva Records has now been re-released

Patton had a strong band with him on this record. Avant Garde trombonist Grachan Moncur III fits in just nicely with some funky lines and solo's. Acid jazz Guitar Hero Melvin Sparks rides in the all important funk grooves but the revelation has to be saxophonist Grant Reed, who you may know from the Jazz Room Release of "Shamek Farrah & Folks" and who was a mainstay of the Mongo Santamaria set up. Jazz Exile Alvin Queen has been part of the sound set ups of Junior Mance, Stanley Turrentine and Charles Tolliver, among others.
The whole album sounds as if it was laid down in a Rudy Van Gelder session in the mid 60's and then languished in a vault somewhere, waiting until the fan base had returned.

Soul Jazz Records new ‘Life Between Islands’ collection coincides with the launch of Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now.

Soul Jazz Records album, sub-titled “Soundsystem Culture – Black Musical Expression 1973-2006,” focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle/Drum & Bass, Jazz-Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly-collectible single, ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock tunes reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture – MCs, dubplates, crews – and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever-evolving soundsystem culture.

Karsten PflumReal Name:Jacob Helverskov MadsenIDM legend hailing from Denmark now living in Berlin germany
been making music since 2002 been on many labels such as Hymen Records, Mindwaves Music, Touched Music, Touched Revolutions

* Limited edition Vinyl release presented in full colour sleeve.
* Mozey boasts a catalogue of releases on the likes of Bingo Beats, Emcee Recordings, Souped Up, Serial Killaz and many more top shelf imprints. Shady Novelle features on both tracks having previously linked up with Mozey on his recent Hospital Records cameo.
* Dynamite MC features on 'Midnight Called', an artist who has collaborated with a variety of world class artists including the likes of Tiesto, Andy C, DJ Zinc, DJ Marky, The Scratch Perverts and more.
* 'Make Beleive' is a collaberation with L-Side who's coming fresh off the release of his Canral Mind Remixed project featuring Break, Spirit, Dogger & Mindstate & Alibi.
* A huge two track single that has great club and radio potential.

After a steady rise to international recognition through 2 LPS and several EP's already since 2018, Zeitgeist Freedom Energy Exchange joins the Get Together family for their first recording session in Europe. "Prayer For Peace" - A 7 track journey through atmospheric scenes, broken to deep four on floor rhythms and colourful top lines. From the Jazz-funk inspired 'Prayer For Peace' to the infectious Boogie twilight of 'Cadillac' this is a record that is equally well suited to dance floor applications as it is to an intimate night with the turntable spinning and the sensual herbs burning.
This Recording represents the Berlin chapter of the Zeitgeist Freedom Energy Exchange. The curated jam band moniker of Ziggy Zeitgeist, the experiment having emerged from the murky depths of the Melbourne underground. Zeitgeist arrived in Berlin in summer 2019 wasting no time in assembling a talented and diverse group of assorted freaks from many corners of the world to bring their own languages, melodies, rhythms and swagger on this cross continental meeting point.
This session captures the raw energetic fusion of such diverse and innovative musicians scene co-existing in the Techno capital of the world. This city already has its own sound, its own attitude. It's no wonder artists gather from every corner of the world to discover themselves through the lens of the city. That is the sound of the 'Zeitgeist Berlin era' the group explores deeper, darker sounds of the club emerging from their signature hip slinging disco, funk fusion.
For such an occasion the recording was engineered and mixed by platinum producer / engineer Axel Reinemer in the esteemed Jazzanova studios. 3 days of steamy Berlin summer looking over the ring-bahn towards the swamps of the Tegel Forest to the north. Spiritual jazz interludes flirt delicately with bouncing Brazilian rhythms. Psychedelic dub-grooves meander before exploding into bursts of finessed energy, before locking into steady and deep-house rollers.... All live, All together in the room, all real human spirit imbued in every note, with the level of production to easily stand up on the club system This is the kind of record that is as diverse as it is essential in every serious collectors artillery.

Sixteen musical vignettes of electrifying emotion at the crossroads of ambient, modern synthesizer productions and organic orchestral music experimentation, which tint French director Jacques Audiard's new feature film with the illuminated glow of a whole new generation.

Textextext - (add your write up)

When Jacques Audiard contacted him, Rone was just a few weeks away from receiving the Cesar award for best film score for his very first soundtrack "Night Ride", the highest honor in French film for a composer.

Throughout his career, the French director has been able to surprise his audience by playing on the codes of "genre films", while remaining faithful to the aesthetics of "art film". His cinema is both profound and entertaining, sophisticated and accessible, dark and dreamlike.

"Jacques' cinema is physical, sensual, modern", Rone says about the director, "when he asked me to do the music for Paris, 13th District , I immediately accepted, without seeing any images or reading the script. He is simply one of the greatest contemporary filmmakers."

His new feature film deals with youth in general and their sexuality in particular in a way no one may have done before. The story is based on four young characters and their existential questionings, whose destinies intertwined against the backdrop of the Parisian "Olympiades" high rises in the 13th arrondissement.

But time was already running out, as the film was set to be nominated for *Cannes' Palm D'or* at the rescheduled edition of the festival in July 2021. Between the releases of "Rone & Friends" and his remixes for Agnes Obel, Go Go Penguin and Jehnny Beth (who also plays a role in the film), the producer decided to lock himself away in in his brand-new Isola Studio in Cancale, French Brittany. He also invested in a large screen on which he projected loops of the film and started manipulating his gear. "I had Miles Davis in mind and the way he composed "Ascenseur pour l'échafaud" by improvising with his band while watching excerpts from the film."

After a first conclusive test on three scenes of the film which allowed Rone to showcase the skills he had developed in composition in various musical fields, a relationship of trust developed between the musician and the director, which resulted in over 45 minutes of Rone's music used for the final cut.

"There was a lot of music to be made in a short time, but the talks with Jacques were very stimulating. He had a fairly precise idea of what he wanted, while at the same time, I think, having the desire to be surprised, or even a little shaken up."

If the black and white aesthetic recalls the great hours of the "Nouvelle Vague", Rone´s music gives a new layer to the film which fits resolutely with 2020's zeitgeist.

This second soundtrack by Rone is a sonic urban adventure in itself. As it is used in the film, colouring in the lives of Audiard's protagonists, it will have the same impact on us, the listeners, in our own everyday lives.

The debut album from hotly tipped kiwi band Jamie and The Numbers, finally sees a release via Pete Brady’s Superfly Funk and Soul Records. After years of limited release 7”s being fought over worldwide by collectors and fans, this superb LP is the culmination of years of work for highly gifted Tongan-Kiwi Jamie Mavusa. Based in Wellington she can occasionally be seen singing soul tunes for Tapestry Music Promotions at many of their Music Reviews and also in her gospel choir at Church. It was at one of the Tapestry Music shows in Wellington that Jamie met Simon from Deltaphonic Records/The Numbers and after watching Jamie perform an amazing version of "Wade In The Water”. It was suggested they do some recording together with the view of doing some cool Soul classics and a bunch of originals too, the rest is now history.



The Numbers are an incredibly tight Wellington based band. Prolific writers of their own original material they are a 4 piece that consist of three brothers from Wainuiamata and a newly adopted Kiwi originally from Birmingham England. If you get a chance check these guys out they are brimming with cool retro tunes and some barnstorming original songs played with verve and passion and their shows are always fun, 2019 they supported "From The Jam" on their visit to New Zealand and after teaming up with Jamie have played Pasifika Festivals and open-air concerts to thousands of people. The Numbers collectively have played, sessioned, recorded for other artists on such labels as Gut Records, D-Star, EG Records, Imaginary Records and have in excess of 40+ published songs with Universal, Complete Music, KWS Records NYC and Cherry Red Records.

R.I.P MF DOOM…
MANUFACTURED EARLY 2020 AND HELD BACK FOR RESPECTFUL REASONS IS THE REMASTERED 7” VINYL OF THE GREEDY FINGERS TRACK.
I SELL RHYMES LIKE DIMES, TAKEN FROM THEIR SEMINAL 1999 HIP-HOP ALBUM SHADY SIRENS.
THE ALBUM FEATURED TWO TRACKS WITH MF DOOM & MEGALON, IT ALSO HAD TWO TRACKS
EACH WITH CAGE & NECRO AND FEATURED SCRATCH PERVERT TONY VEGAS. GREEDY FINGERS WERE THE FIRST TO COLLABORATE A FEATURING WITH MF DOOM. THIS EARLY RELATIONSHIP WITH MF GRIMM & MF DOOM ALSO LEAD TO
GREEDY FINGERS PRODUCING MONSTA ISLAND CZARS DEBUT 12” SINGLE RUN THE SPHERE.
THIS TRACK WAS REMASTERED DUE TO BASSLINE MASTERING DISPUTE AND NOW SOUNDS EXACTLY HOW IT SHOULD HAVE ALL THOSE YEARS AGO…
ON THE B-SIDE IS AN ALTERNATE INSTRUMENTAL TO THE LP VERSION.
THE 7” SINGLE IS LIMITED IN SHRINK WRAP WITH IN A STICKERED SLEEVE AND ACCOMPANIED BY A UNIQUE MUSIC VIDEO SHOT BY HMM COOL MOVIEZ.

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.

Vega Records presents the first Tony Touch / Louie Vega collaboration, the summer anthem “Sacude” now on a special vinyl double pack with remixes by Vega, Manoo, Oscar G, & Touch. If you had one latin house track to play during your set, this surely is the one with the universal appeal. Tony Touch delivers with the infectious hook “Sacude” and the remixes compliment his vocal with powerful drive. Whether the Afro House sounds of Manoo, to the latin underground house of Vega, the hard latin house sounds of Oscar G, or with latin hip-house vibes of Tony Touch, any one of the remixes will have people stomping’ their feet and singing the hooky “Sacudeeeeeee”.

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.

Carly Pearce veröffentlicht ihr neues Album „29: Written In Stone“.
Bereits mit ihrer Debütsingle „Every Little Thing“ erreichte Carly Pearce 2017 den Spitzenplatz in den
US-Country-Airplay-Charts und knüpfte an diesen Erfolg mit ihrem Duet „I Hope You’re Happy Now“ mit
Lee Brice direkt an und landete nicht nur ihren zweiten Nummer-1-Radiohit, sondern auch ihren zweiten
Platinsong.
„29: Written In Stone“ nahm Carly Pearce inmitten von Tumulten, Erschöpfung und tiefen, seelisch
erschütternden Enttäuschungen auf.
Das von Shane McAnally und Josh Osborne produzierte Album besteht aus 15 Songs, die ursprünglichen
sieben der EP „29“, sowie acht weitere. Die Songs begleiten den Weg der Erkenntnis, Akzeptanz, dem
Lachen und Weinen und schließlich des Weitermachens, um eine Erfahrung reicher.
Carly selbst sagt über ihr neues Album: ”Als ich anfing zu schreiben, dachte ich, ich hätte alles rausgelassen.
Aber es kamen immer mehr Songs, und mir wurde klar, dass ich dieses ganze Projekt brauchte, um wirklich
zu verstehen, wie man auf der anderen Seite wieder herauskommt, und nicht nur für eine kurze Weile.
Jetzt können die Leute sehen, wie man selbst in den tiefsten Momenten aufblühen kann”.
Das Album ist sowohl digital, physisch als CD und jetzt auch auf Vinyl erhältlich.

Cavity-causing Cordovox-driven 1969 girl-group garage! A delightful
romp through 'Oye Como Va,' 'Proud Mary,' 'Walkin' The Dog,' 'Son Of A
Preacher Man,' their chicle sticky original title track, and so much more!
Cordovox organ, trumpet, bass, drums, congas, and tambourine! Not a
guitar in sight! Out of sight! Pressed on cloud white vinyl!

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

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.