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Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

We love to just try things at Athens of the North and when Clara and Theo (one of our PR friends) were chilling with us at pikes one evening it came up in conversation that Theo has a lovely singing voice and fancied having a spin in the studio. Roll on a month later, and they were home in Edinburgh, and we threw ourselves into a couple of days of experimenting, this little electro floater we were all super pleased with came out of the session. Tonight is a super late night CR78 drum machine mashed work out with a Theo's floaty falsetto smashing out the park, we flipped the OG with a brilliant dubbed out mix that's not to be slept on either.

If there's one specific component that grounds 'Sky Flesh', it's focus. Italian musician and sound designer Marta De Pascalis flexed her technical muscle on 2020's 'Sonus Ruinae', layering various sounds and processes in an attempt to touch the sublime. In contrast, 'Sky Flesh' is a single thought, composed using just one instrument: the Yamaha CS-60. A slimmed-down sibling to the gargantuan CS-80 - the analog synthesizer used by Vangelis to create his iconic 'Blade Runner' score - the CS-60 was released in 1977, a few years before the MIDI protocol was introduced to help standardize production methods. MIDI would change the electronic music landscape completely, offering a level of control that De Pascalis consciously relinquishes, preferring to highlight expressiveness and timbre, elements more readily associated with acoustic instruments. The album arrives as much of the wider experimental scene busies itself with algorithmic composition and AI-assisted modeling; De Pascalis chooses to work instead like an organologist, harnessing the CS-60's mercurial magic to suggest deeper truths about our evolving relationship with machines.

Currently based in Berlin, De Pascalis grew up in Rome, where she was surrounded by atrophied ruins that piqued her interest in decay and memory. Over her last three albums, she used tape loops and advanced synthesizer techniques to create a unique sound world that's guided by her musical philosophy, rather than a specific aesthetic. As she's developed her technique and confidence, her music has become even more idiosyncratic, and at this stage in her career she's stripped her sound down to its core elements, focusing on emotion, narrative and mystery. Using timbres that recall a time when electronic music still waved towards the future

Nelly Furtado’s Hit Multi-Platinum Album Loose Is Finally Released on 2LP Vinyl After 17 years! Featuring the #1 worldwide hits “Promiscuous (feat. Timbaland)” & “Say It Right,” Nelly’s 3rd album is still held as one of the biggest and best Pop albums of the era. Selling over 12 million copies worldwide, this album cemented her as one of the genre’s biggest stars! Also includes radio staples “Maneater,” “Te Busque,” and “Do It.”

Far Out Recordings proudly presents the new album from Brazilian guitarist and composer Fabiano do Nascimento: Mundo Solo.

Recorded at his home studio in Los Angeles (2020) the album is fundamentally the sound of a man alone with his instruments.

Utilizing a variety of guitars, including 6, 7 and 10 strings, Oktav guitar and electric baritone guitar, alongside a host of pedals and synthesizers, Fabiano tracked imagined landscapes with expressive, expansive improvisations, which tend toward the more ambient and atmospheric reaches of his recent output.

Adopting Hermeto Pascoal’s concept of Universal Music, a rejection of nationalistic tendencies in order to express all of one’s musical influences all at once, Fabiano avoided leaning too heavily on any particular musical language, without denying his own musical roots.

After studying classical piano as a child, the Rio de Janeiro native discovered the guitar aged 10. Studying under his late uncle, Lucio Nascimento, he eventually left Brazil for LA, where he soon became an in-demand player for his distinct and authentic sound. He has since released seven albums under his own name and collaborated with renowned Brazilian artists including Arthur Verocai and Airto Moreira, as well as experimental US saxophonist Sam Gendel.

Mundo Solo (Do Nascimento’s eighth), was recorded in one take per track, with occasional overdubs and a few appearances from collaborators and friends Julien Canthelm (drums on Etude 1), Ajurinã Zwarg, (percussion on CPMV) and Gabe Noel (Bass on Curumim).

Fabiano Do Nascimento’s consummate mastery of his instrument has afforded him a freedom of expression few can claim. Blending the emotional with the elemental, Mundo Solo is a stunning snapshot of solitude and the beauty which can blossom within it.

Mundo Solo will be released on vinyl LP, CD and digitally on the 24th November, via Far Out Recordings.

Purple Color Vinyl

We are really proud to introduce a new release on Mawimbi Records: "Mawimbi, Vol. 2”. Its title is a nod to “Mawimbi, Vol. 1”, which was the inaugural release of our record label back in 2015. A new compilation, at last, after a decade of music activism and a handful of EPs and albums which have helped unearth some of today’s talents from the new global music scene (Onipa, Loya, Afriquoi, Raz & Afla). It stays true to the driving principles of our artistic direction: support upcoming artists, e ncourage the breaking down of musical frontiers, help make happen new encounters between electronic music and so-called “afro” music. While these encounters can now be witnessed anywhere in pop music’s current zeitgeist, from Beyoncé to South African’s vibrant amapiano scene, we think there’s still plenty to explore.

“Mawimbi, Vol. 2” truly feels like the culmination of a long path for our record label. Because it includes artists who have been actively contributing to the Mawimbi adventure over the years, and also because it’s another convincing testimony of the fruitfulness of this musical intuition we have so heartily been defending for the last decade. Indeed, the 8 tracks of “Mawimbi, Vol. 2” resist all the usual labels. They sound like they stem more from human encounters and artistic dialogues launched in the moment than attempts to be associated with any music scene in particular. Each of the 8 pieces of this compilation presents in a unique way the search for this cross-pollinating sound.

The compilation opens with a really engaging rework of James Stewart’s classic track “Cotonou” by Lyon-based tropical music enthusiasts Voilaaa, who took Peter Solo’s voodoo soul lines on a trip across the Black Atlantic beginning with a horn-heavy cuban cha-cha-cha before falling into a savory triple time dance. As tireless sonic adventurers, Amsterdam-based duo Umoja have brought back a handful of hits from their numerous trips to Kenya meeting with local benga musicians. “Avana Va” is one of their compelling tunes, featuring Kenyan musician and producer Sidney Simila. This urge to collaborate with musicians from across the African continent is also to be found in Village Cuts’ ever expanding discography. On “Sentima”, they showcase their trademark London funky sound, introducing us to the talents of Congolese guitarist and singer Kissangwa.

Afriquoi’s 2020 hit “Ndeko Solo” is presented in a brand new shape, sprinkled with some French Touch flavours. “Djansa”, by Toulouse-based producers Mr. Boom, rides a distinct South African-inspired groove, while inviting us to a nighttime dance by the Balearic sea. On “Silent Runner”, French producer and musician Ozferti moulds his own musical galaxy where East African scales meet cutting edge global club beats. With “Nabi Kumi”, Anglo-Ghanaian duo Raz & Afla delivers their deepest piece, once again inducing a state of trance with a triple-time beat and an hypnotic kora loop. Closing the compilation, “It's Holy” is a unique collaboration between Tom Excell (Onipa, Nubiyan Twist, David Walters) and Dizraeli, one of the most interesting voices in British rap, which by making connections between broken beat, jazz and african music, illustrates the precious mixture of musical aesthetics that make up the current UK musical landscape.

The COLLECTIVE RHYTHM NETWORK is a Canadian radio show established in 1998 focused on underground dance music.

The 2nd single in the series features a previously unreleased full length version of INFILTRATE’s “C'MON NOW (THE D'PAC 905 DUB)”. INFILTRATE released “C’MON NOW” in 1993 on CONTRABAND RECORDS. A stellar remix 12” was put out the following year on the legendary Detroit label KMS RECORDS. From that record, and EXCLUSIVE to this release we get the previously unreleased full length remix with a distinctly KMS sounding dancefloor stomper that stands the test of time.

DJ SLUGO is a founding member of Chicago's infamous DANCE MANIA label and a true Ghetto Superstar often referred to as the “Ghetto-father of the American Dancefloor”. Here you get a rare deep house cut “SISTA 2 SISTA”.

Detroit’s CHRIS SHIVERS released the classic “DO RIGHT EP” in 1994 on TERRENCE PARKERS’ INTANGIBLE RECORDS & SOUNDWORKS record label. With additional production by TP and including atmospheric keys and a moody rhythm “THE FIFTH INNING” is one of the deeper cuts in the catalogue. A classic for the true heads.

Limited pressing with matte varnished sleeve, designed by ANDREI STOISOR.

Aiko T. is a concept, an entity, a ghost that appears only through her own music.

"I’ve released various materials over the years under other names, Aiko has been materialized in 2022 through self-published music and with IIKKI it's the first official release that I am very proud of. Despite this, Aiko has been publishing in other forms since 2020, but always within the sphere of ambient music.

This album was born as a long-lasting sound continuum. It was then cut, stitched together and reassembled to give shape and restore unity from the fragments, in order to have an album that shows its completeness halfway between the titles and the compositions themselves. Contrary to what it may seem, it is not born from a concept and does not want to be. The titles were chosen in a poetic, almost naïve way, the sounds of these creatures led me to believe that they could be divided into different distinct phases of the day. What I want to communicate with the titles is just what came to mind in a moment of reflection, a very simple thing, that sometimes time passes too quickly, and the moments we spend with our loved ones could always be better, it could have been a beautiful morning, afternoon, evening or night." - Aiko Takahashi

Music crafted by Aiko Takahashi with laptop and various music devices, analogue and otherwise

Diffrent Music roars back into action after an extended hiatus to raise a couple of young giraffes with the electrifying new compilation, ‘Revolution Of The Giraffe’ LP.

Launched in 2010 with the aim of bringing something new to a drum & bass scene that had become overly formulaic, the label has continuously pushed in new directions, often incubated tomorrow’s stars, and evolved beyond even that original grand ideal. ‘Revolution Of The Giraffe’ unleashes 17 tracks of bleeding-edge electronic music, proving that after 13 years, Diffrent still sounds like nothing else.

Core artists from the label’s distinguished history bring their expertise, such as drum & bass mainstay Arkaik and sound architect Fearful, who team up with label boss Dexta for the MC GQ-sampling ‘Old Skool’ — a new track with a classic Diffrent sound. And there are numerous debuts: A.Fruit reworks an all-time Diffrent classic, ‘Boxgroove’ by Dexta & Hyroglifics, into a glitchy halftime stomper; none60 bosses Silent Dust turn Dexta’s ‘SE4’ into a rebellious dancefloor juggernaut; and the mysterious Gaunt’s ‘Firefloor’ becomes locked ‘n’ loaded rave artillery in the hands of Pepsi Slammer.

Label stalwart Mauoq puts his signature psychedelic future dub spin on ‘Departed’ by Cuelock, who in turn delivers the ice-cold, grime-indebted ‘Pages Of Snow’. Lakeway conjures the epic ‘Even Though’, nearly eight minutes of ecstatic, spell-binding, hyper-rave wonder. Dexta goes solo with squelchy techno jungle stormer ‘Giraffes On Acid’. Even Sense MC makes an… appearance.

New-gen Diffrent acts are in fine form too. The inimitable BrandNewTrumpets opens the album alongside Macc; ‘We Are The Tightrope Walkers’ is a powerful spoken word piece that erupts into a hail of punishing breaks. No Nation, Sheba Q and BK Balance, meanwhile, turn out explosive, hi-tek junglism on ‘Too Late’. From Diffrent’s industrial-toned sister label Are We Really Alone? (A.W.R.A.), Amir De Bois joins forces with Fearful for the paranoid, jittering ‘73’; Tokyo’s Itti summons thunderous bass on the ritualistic ‘Rumbling’; and Croatian artist Spaj.A.S.E.’s competition-winning, mind-mashing remix of the first ever Diffrent release, ‘Everyones Mad’ by Chills, finally sees the light of day.

Always looking to the future, Diffrent also welcomes modern jungle visionary Eusebeia, who puts his ethereal touch to Crypticz’s ‘Could Have Been’, and Stateside up-and-comers Illexandra & TGRbass, who deliver the supercharged, elastic bounce of ‘Swampy Swami’.
Closing out with one from deep within the vaults, ‘Aftaparty’ is Beezy and MNTX’s ode to seeing where the night takes you. It’s a fitting note to end on, as a new era of Diffrent Music begins. Where will it take you? Join us on the ride and find out.

"I've loved every moment of the label so far: the fast-paced release schedules, the slow years, the podcasts, albums, singles, EPs, parties, etc. This compilation album signposts where we are at — a bunch of classic Diffrent artists, a load of new faces, and a few remixes thrown in for good measure. Each tune stands alone, but stands tall next to each of its siblings. I hope you all enjoy it as much as we have! The revolution is here, join the revolution!"
- Dexta

V-House Sound boss, AJ Christou is next to make his Hot Creations debut with the two-tracker ‘Babaloop’.

Hailing from Manchester, AJ Christou stands as a testament to artistic accomplishment with his unwavering commitment to his evolving craft and sound. The success of his new label, V-House Sound, has made this year particularly significant for him, with unshakable support from industry heavyweights like Marco Carola, Joseph Capriati, and Jamie Jones, backing his reputation as one of the most sought-after DJs in the game. With another impressive year behind him, December now marks his debut on Hot Creations as he delivers two club ready gems in his ‘Babaloop’ EP.

The bumping two-tracker kicks off with ‘Babaloop’, a lively late-night house cut featuring entrancing male chants and a bouncing bassline that captivates the listener with its groove. ‘No Fear’ follows up with a funky bass riff, alluring female vocals and deep stabs, radiating prime-time resonance and bustling club energy.

A Tribe Called Quest wurde 1985 in Queens, New York City, gegründet und bestand ursprünglich aus dem Rapper und Hauptproduzenten Q-Tip, dem Rapper Phife Dawg, dem DJ und Koproduzenten Ali Shaheed Muhammad und dem Rapper Jarobi White. Alle sechs Alben der Gruppe wurden mit Gold oder Platin ausgezeichnet. ATCQ gilt als eine der innovativsten und künstlerischsten Rap-Formationen der 1990er Jahre.

Stix Records, a sub-label of Favorite Recordings, presents the 2nd release from its new Mellow Reggae Series project. Launched earlier this year by Mato & Ethel Lindsey with a stunning cover of the famous “What You Won’t Do For Love” by Bobby Caldwell, the series continues with the same duo, now taking over “Baby Come Back”, the underground AOR/Blue-Eyed-Soul classic from Player.

This time again and likewise could be told about Bobby’s most famous song, “Baby Come Back” can be considered as a “One-Hit Wonder”, reaching #1 on the US Billboard Hot 100 in 1977, while very few people might be able to name who performed it. Like he always does, Mato delivers an outstanding version, delighting us with his matchless skills for dub production. Already perfectly matching on Bobby Caldwell’s rendition, Ethel Lindsey ensure again the perfect vocals over Mato’s production. Currently preparing her 1st album to be released on Favorite Recordings, Ethel has a long music and singing experience, unless an almost blank discography. From her very young age, she’s developed a deep passion for AOR and Blue-Eyed-Soul style.

Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classic French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. His 15 years collaboration with Stix Records and label honcho Pascal Rioux gave life to many masterpieces and the story seems far from the end…

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

Good Time​ is Teenanger boiled down to its very essence. A lean and muscular eight-song album that is the sound of a band who simultaneously has everything and nothing to prove. It’s what happens when seasoned songwriters flex their chops in an environment that fosters boundless creativity. It is also Teenanger’s most fun album. Choruses soar to previously unattained heights, descending to a rhythmically fertile ground to pull earworms that will stick inside listeners’ heads for days. If its songs were citizens, they would reside in a diplomatically neutral city-state, melting pots of art rock, pop, dub, post-punk and new wave.

The music of ​Good Time​ certainly elicits pleasure, but lyrically things are more weighty. The band does not shy away from its commentary on contemporary issues. There are calls to reject societal norms, ruminations on humanity’s obsession with technology and warnings about our impact on the environment. Teenanger never gets too earnest, delivering everything with an irreverence that has been there since day one.

Recorded at: Studio Z. Mixed by: Sandro Perri. Mastered by: Noah Mintz. Cover Photo: Colin Medley. Graphic Design: Thomas van Ryzwyek & Jonathon Yule.

This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters. Ce projet est financé en partie par FACTOR, le gouvernement du Canada et les radiodiffuseurs privés du Canada.

This album was created with the generous support of the Ontario Creates.

Brighton folk punk band Levellers are celebrating the 25th anniversary of their timeless platinum-selling, second album Levelling The Land with a three-disc special edition package, which will be released on November 18th through their own label On The Fiddle Recordings.

Following the release, the band will be embarking on a mammoth UK tour including a performance at London's Brixton Academy for the 15th time in their career. They will be playing the classic album in full as well as other hits from their 28-year career and will be supported by Ferocious Dog and Gaz Brookfield.

The Levelling The Land special edition will be available as a 2CD & 1DVD set featuring the original album, plus a live version recorded at Brixton Academy and a DVD of that performance. There will also be a limited edition 2LP coloured vinyl set featuring the original album plus the live version.

Levelling The Land was originally released in 1991 and features the hit singles 'One Way', '15 Years' and 'Far From Home' plus 'The Game', 'Liberty Song', 'Another Man's Cause', 'Riverflow', 'Boatman' and the incendiary 'Battle Of The Beanfield'.

During that summer, Levelling The Land redefined the UK's musical landscape providing the soundtrack for a society fed up with the twin evils of Thatcherite politics, and the post-80's pre-grunge musical wasteland. Emerging victorious through the ups and downs of label deals, spats with the music press and the wear and tear of touring, the Levellers are still going strong after nearly 30 years in the game.

Formed of Mark Chadwick, Jeremy Cunningham, Charlie Heather, Jon Sevink, Simon Friend and Matt Savage, The Levellers run their own label and their own studio as well as their own festival, 'Beautiful Days'. Cherished and maligned in equal measure, they are one of Britain's finest musical exports as witnessed by the huge North American and Australian tours that precede this release and their victorious UK shows.

2023 REPRESS - Rare Brazilian Bossa Nova - Latin album - Comes with insert/liner notes & packaged in a gatefold jacket - 180g TANGERINE COLORED vinyl limited to 500 copies w/obi strip // Marcos Valle needs little introduction, born in Rio de Janeiro in 1943, Mr. Valle is an award-winning/chart-hitting Brazilian singer, songwriter and record producer. He was raised on a staple diet of classical, Brazilian popular music and North American jazz. Marcos Valle grew up to be one of the most influential & innovating musicians of the Bossa nova period and is regarded as one of the greatest Brazilian artists of all time. He has recorded albums for North American labels such as EMI, Warner Brothers & Verve_cementing his career with a series of tight musical workouts moving seamlessly between funk, samba, soundtracks, soul, jazz, dance and rock. Valle contributed to some of the most important recordings by artists including Sarah Vaughan, Frank Sinatra, Sergio Mendes, Leon Ware, Chicago and Airto Moreira. Mr. Valle's work has been sampled/remixed by major artists from the likes of Jay-Z, Kanye West & Madlib.One of Valle's favorite bands to frequently collaborate with was no doubt Azymuth, who took their name from a Valle song!Azymuth (Bertrami-Malheiros-Conti) started their individual careers in the 1960s in the emergent Bossa nova and jazz scene of Rio, living in the same bohemian block in Copacabana and playing in small bars as session musicians under various other names.It was the early 1970s when Azymuth really began to cause a stir and Marcos Valle invited them to record on a soundtrack LP he was doing. The unique Azymuth sound was now born: a mix of electronic music, samba, funk and jazz that they defined as MPB-jazz (MPB stands for Musica Popular Brasileira). Over the decades Azymuth released extremely successful albums (selling millions of copies) on labels such as Polydor, Som Livre and Atlantic. Hitting the charts on multiple occasions, Azymuth played at the Monterrey and Montreux jazz festivals and at venues around the globe.The band has worked with legendary musicians from Joe Henderson to Stevie Wonder and they've also been remixed/sampled by artists such as Flying Lotus, will.i.am, MF DOOM and Peanut Butter Wolf. Their unique brand of fusion-music has influenced three generations of musicians, DJs, and producers. Music journalists across the spectrum from mainstream to underground, celebrated these raw yet wildly imaginative and musically accomplished tracks that were a revelation of jazz, funk and disco, with some even stating that the roots of EDM were on display in their early recordings.On the album we are presenting you (Brazil by Music - Fly Cruzeiro) the listener is getting yet another fantastic early Valle/Azymuth collaboration. Released in 1972, this rare album was pressed and gifted to customers of the `Cruzeiro' airline company. This promotional record came as no surprise because the connection between Cruzeiro Airlines and Valle was very tight (Valle's father was the manager and his brother was a co-pilot there).Next to the Valle/Azymuth material present, other songs include some of the all-time best Brazilian standards originally written by renowned artists such as Jorge Ben & Antonio Carlos Jobim. Take a flight with us through this fantastic album and into some of the best Jazz, Funk & Bossa Nova the Brazilian musical landscape has to offer.Tidal Waves Music now proudly presents the first ever vinyl reissue of `Fly Cruzeiro' since its release in 1972 (only 500 copies were pressed upon its original release in 1972).

Repress!
It's always great to have access to quality masters from some of the world's greatest-ever artists and Gladys Knight hits that spot, especially via the original 12 inch version of Love Is Always On My Mind is another one of those impossible rare Buddah 12 inch from the mid-70s.

This is really a 10 minute plus tour-de-force of relentless Disco with Gladys's impassioned vocals doing their usual superlative job. Mint 12 inch copies are reputedly worth £200 but the fact is that there's no mint original ones left anymore. Until now. Additionally we've cheated slightly by including one of Gladys Knight & The Pips in-demand Columbia recordings on the flip - the Ashford & Simpson penned classic Bourgie Bourgie on which Gladys laid down the definitive vocal to this club classic on the full 4.37 original 12 inch mix.

Two definitive dance-floor gems on one 180 gram 12 inch pressing mastered from the original tapes. What more could you want

Pink Vinyl. The title of the most recent Atmosphere album, May 2023's So Many Other Realities Exist Simultaneously, evokes the multiversal storytelling that's recently vaulted into the mainstream consciousness. With their latest effort, the irrepressible Talk Talk EP, the Minneapolis legends dart across threads of space-time to grab hold of the one where Slug and Ant became titans of the electro-rap that was foundational to their youths. By evoking acts like Kraftwerk and Egyptian Lover, Atmosphere makes visions of the future from four decades ago seem new once again, the relentless forward churn of technological optimism reimagined as an endless loop with irresistible drums. The genesis of the Talk Talk EP was the session for a song of the same name that appeared on So Many Other Realities Exist Simultaneously. A collaboration with Lifter Puller alum Bat Flower, the song "Talk Talk" exists alongside electro classics in an uncanny valley that's been warped into a sweaty nightclub, at once vaguely alien and deeply human. Enamored with the song's outcome, Slug and Ant returned for a longer exploration of the sound, to mesmeric results. The pulsing "Rotary Telephone," where the TV antennas seem tuned to a world just slightly askew from ours, thrives on the tension between Slug's careening vocals and the song's taught structure_form matched perfectly with content. And on "Hear Hear," the struggle to make human connections is revealed as a beautiful one. For all its well-documented roots in disco and R&B, rap's connection to the electronic music of the 1970s and `80s is a core part of its DNA. The Talk Talk EP is one of the clearest articulations of this truth to emerge in many years, a testament to the communal power of programmed sound. For proof, look no further than "Traveling Forever," the haunting missive that closes out the record. Images flash: of police knees on necks, of prying cameraphones, another empty hotel room indistinguishable from the last. "I never got to learn how to dance for you," Slug raps, pointedly. "I don't know whether or not that's an attribute." A chill runs down your spine but the skull at its top keeps nodding.