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In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

Following two stunning EP’s earlier this year, Federico Albanese now releases his debut album on MercuryKX. Featuring collaborations with Marika Hackman and Ghostpoet, the project centres itself around memory: “ We have the power to change the way we recollect moments of our lives. I like the idea of being able to craft my own memory the way I wanted to remember it. Music is the vehicle I use to find these moments, hold them in time. It allows me to remember something from a very special perspective, creating different possibilities” - Federico Albanese.

King Creole was the fourth of Elvis Presley’s Hollywood movies, released in June
1958. Loosely based on Harold Robbins’ novel A Stone For Danny Fisher, about a
struggling young Boxer. Producer Hal Wallis decided it would make a perfect vehicle
for Elvis Presley, and so the lead character became a Singer instead of a Boxer, and
the whole project was promptly transformed into a musical. It’s one of the best of the
Presley soundtracks opening with the title track King Creole penned by Leiber &
Stoller, followed by R&B number Crawfish, and the contrasting Rock'n'Roll track
Dixieland Rock which is reminiscent of Jailhouse Rock. Sadly, it was to be the last
truly dramatic role Elvis was ever given, and Presley himself would always cite King
Creole as his personal favourite out of all the films he made.

Known as ‘Mr. Guitar’, Chet was one of the greatest and most influential musicians in Country
Music. He was an RCA Nashville Producer from the late '50s through to the mid-70's,
masterminding sessions for Dolly Parton, Charley Pride, Waylon Jennings and Jim Reeves. Chet
moved to Nashville and became a session man, playing on records by the Everly Brothers, Elvis
Presley and others, while also performing as a solo artist on the Grand Ole Opry. An in-demand
figure at this point, Chet commenced his own recording career with an instrumental version of
Indian Love Call. Followed by Yankee Doodle Dixie, a showcase arrangement on which Chet
played the Bass strings and Treble strings simultaneously! An architect of the Nashville Sound, he
recorded an instrumental version of the Chordettes' hit Mr. Sandman, which provided him with his
first Country Music chart entry. His records began to cross over into Pop and he enjoyed Hot 100
success with the percussive Boo Boo Stick Beat, Teensville, One Mint Julep, Sleep Walk and Oh
Lonesome Me

After co-writing a top five song for Kitty Wells, Mommy For A Day, Buck ended
1959 with a hit of his own, Under Your Spell Again. The next six years brought
many more; Foolin' Around, Under The Influence Of Love and Heartaches By
The Number. However, Owens’ popularity had peaked by the late 1960s. So,
in 1969 he embraced the small screen and became co-host of Country Music
TV programme, Hee-Haw. The arrival on the scene of Country-Rock pioneers
the Flying Burrito Brothers in the late 1960s gave Buck Owens another share
of reflected glory. They loved the raw Hillbilly feel of his music, developed to
compete with the string-laden ‘Countrypolitan’ sound so popular in the early
1960s in the hands of Eddy Arnold, Jim Reeves and Patsy Cline.

Blue Hawaii was Elvis’ 8th film, and on its release in 1961 became one of that year’s most
successful titles at the box office. It remained one of the singer’s all-time favourite movies,
and began a love affair with the island, which had become America’s 50th state in 1959.
Blue Hawaii was the usual Elvis mix of exotic locations, beautiful girls and lots of songs. The
soundtrack of Blue Hawaii did not disappoint – the sleeve boasting “14 Great Songs”. The
title track was a perfect introduction, while the Hawaiian setting meant that space was found
for the atmospheric Hawaiian Sunset and Island Of Love (Kauai). Room was also found for
two other island-related songs - Aloha Oe and Hawaiian Wedding Song, both of which had
been hits for Bing Crosby back in the 1930s. But where Blue Hawaii really scored for fans
was the inclusion of the boisterous Rock-A-Hula Baby and a song which would go on to
become one of the singer’s best-loved ballads – Can’t Help Falling In Love. Based in part on
an 18th Century French melody, for many years this became Elvis’ in-concert finale.

Long before today's 'rebellious' pop idols, singers Frank Sinatra,
Dean Martin and Sammy Davis Jr. plus Actor Peter Lawford and
Comedian Joey Bishop had entered showbiz legend as the
genuinely hellraisin' Rate Pack. The handle proved a gift to
journalists chronicling the life and high times of the all-male quintet
whose leading lights were, without a doubt, three of the greatest
entertainers of the 20th Century. Captured on this 3LP compilation
album are some excellent musical memories performed at their best

Del Jones, a poet, and proto-rapper, recorded Court is Closed in 1973. It was underground Philadelphia’s response to Amiri Baraka’s and Gil Scott-Heron’s indictments of the Black American experience - a call to action not just for his city, but for the nation. The set includes an oversized 10 page booklet by Jeremy Cargill, with contributions by Now-Again founder Eothen “Egon” Alapatt which delves into Jones’ music, milieu and life as an author, activist and orator, shining a light not only on his prescient awareness of hip-hop, but also on the struggles he confronted, and his urgent, current mandate. Court is Closed, equal parts psychedelic rock and deep funk, had a limited release of 500 copies and was rarely heard before Jones overdubbed horns on the album, remixed and augmented it with additional music, and issued it as the better-known Positive Vibes. Here we present both versions of the album on the 23rd release in the deluxe Now-Again Reserve Edition series. Jones’ story, and that of his family, is like his music: a loud, vital voice long silenced. Understanding it now is not just a visceral musical experience, but an essential dissection of racism and classism in America.

Lofi “heavyweights” Phlocalyst und Mr. Käfer liefern den zweiten Teil ihres gemeinsammen Projekts “Now / Again” auf Melting Pot Music.

Aber Moment mal.. kann man bei “Now / Again II” überhaupt von Lofi sprechen? Wenn man die einschlägigen Playlists verfolgt hat man mit Sicherheit schon Tracks der beiden gehört und wenn man ihre Zahlen betrachtet, gehören sie zu den erfolgreichsten Produzenten der Szene. Aber was ist mit der Musik? “Now / Again II” ist weit entfernt von melancholischen Piano Loops, imitierten Vinylrauschen und überstrapazierten SP-404 Effekten (oder was auch immer der Waschbär in dir mit Lofi assoziiert).

Stattdessen würden wir “Now / Again II” als Contemporary Smooth Jazz mit souligen Hip-Hop Einflüssen beschreiben. Umgesetz mit einem feinen Gespür für starke Melodien, ausgefeilten Arrangements und der nie endenden Liebe für Blue Notes. Überzeugt euch selbst.

Phlocalyst – Trumpet, Rhodes, Synths, Piano, Bass
Mr. Käfer – Drums, Rhodes, Synths, Piano, Bass
Produced by Mr. Käfer & Phlocalyst.
Mixed by Mr. Käfer.
Artwork by Giza One.Tracklist

When Ella Fitzgerald began recording her series of albums devoted to the work of
America’s greatest song writers, she elevated the art of Jazz singing into a new
dimension while celebrating a unique musical heritage bequeathed to the world of
popular music. Norman Granz encouraged the bold decision to record five albums all
featuring the extraordinary output of songs composed by the brothers George and Ira
Gershwin during the Golden Age of popular song. Gershwin show tunes had long been
a staple diet for bandleaders, pop-vocalists and star-instrumentalists eager to perform
such exhilarating material as Strike Up The Band, Oh, Lady Be Good!, S’Wonderful and
I Got Rhythm. But there was also a gamut of ballads and romantic dance themes
needing to be interpreted with greater sensitivity. Ella was more than capable of
focusing on lyrics and caressing melodies of songs like Someone To Watch Over Me, A
Foggy Day and Embraceable You. They are among the 53 Gershwin classics she
recorded over an eight month period in 1959 and now featured in this superb collection.

Girls in Airports has been described as ‘a unique blend of Nordic jazz lyricism, indie-rock
influences and sounds from around the world’. The Danish band is famous for their
captivating soundscapes crossing musical genres and geographical borders. Combining
jazz, indie and urban folk into a unique expression of heart stirring, melody-laden elegiac
hooks and dance-friendly, globally influenced rhythms. Featuring four of the most distinctive
and creative musicians from the Danish music scene, Girls in Airports is one of the most vital
experimental ensembles in Europe. With a coherent and unique sound, their music is both
absorbing and powerfully emotive. The band’s charismatic live performances have quickly
made them one of the most talked about new bands on the international scene.
Based in the Danish capital, the award-winning band has released seven albums and toured
in China, Brazil, the US and across Europe since their formation in 2009

Los Angeles' UKG stalwart brings us the latest Time Is Now release: a 140BPM 5-track special sure to rip open any dancefloor.

Although Sage Hunt wasn't born into the UK hardcore continuum, the UK hardcore continuum was decidedly born into her. In the space of her relatively short career, she has fast become one of the scene's most recognised names, having shared lineups with the likes of Conducta, Sam Binga, collaborated with Oakland badgal bored lord, and appeared on our last TIN compilation alongside Soul Mass Transit System with Sexy Thing. Forlorn EP showcases what else the UKG fanatic has tucked up her sleeve, slammed with big and bad warped basslines, raga vocals, eski samples and saxophone atmospherics. Strap in!

After spending the past 20 years in the studio, on concert stages all over the world and at the literal top of the charts, All-American Rejects co-founder Tyson Ritter didn’t start Now More Than Ever in 2018 with the expectation it would turn into a real band – but a real band is very much what it has become. In tandem with veteran musicians/songwriters/producers Scott Chesak (All-American Rejects, Panic! At the Disco, Weezer) and Izzy Fontaine (Taking Back Sunday, Tegan & Sara, Glassjaw), Ritter has begun a meaningful and exciting new chapter in his music career with Now More Than Ever’s debut album Creatrix, which will be released March 17, 2023, by Thirty Tigers. Now More Than Ever shimmers with that spirit of freedom, its nine tracks gracefully surfing the peaks of the past four decades of pop and rock. These are the kinds of songs that used to be on the radio and certainly still should be today – the ones that make you dance, shake your ass and forget about everything else for a while. Now More Than Ever is here to help make sure the pillars of pop and rock will never fall, and they’re prepared to go down believing. “This is our little monolith,” Ritter says. “It might be six feet tall amongst giants, but it’s pure. And it’s truth for us. It’s saccharine as fuck, and I love it.”

NOW Music is proud to present NOW That’s What I Call 60s Pop – a celebration of an incredible decade of music! Released on a hit-filled Limited Edition 3LP – 56 track compilation, pressed in stunning white vinyl! Also on 4CD set with – a celebration of this incredible decade with 89 fabulous tracks to showcase the era’s cultural explosion. TV advertising from day one of release to include major programming, terrestrial and satellite (actual program placement available closer to release date).

Along with The Mills Brothers, the Ink Spots blazed the way for
black music groups, creating a path for many to follow. They
proved tremendously influential, with Bill Kenny's lead tenor
inspiring such as Sonny Til (The Orioles), Curtis Mayfield (The
Impressions), Frankie Lymon (The Teenagers) and scores of
others, while Hoppy Jones's trademark talking bass role inspired
an equal number of followers.

blue marbled vinyl

It was only a matter of time before Bristol's most exciting purveyor of fast-not-hard atmospheric jungle landed on Time Is Now. Artificial Red - otherwise known as George Young - specialises in the genre's softer side, with each release immersing its listener in transcendental worlds that seem at once mechanical and organic. Grit EP is jungle with colour - watercolour - each track stained with shades of orange, yellow, blue and green. Whilst some feature raw percussive techniques to give them a raucous, club-focused edge, others incorporate soulful female vocals and keep things minimal. Whatever your taste, Grit EP might just be thing you didn't know you were looking for.

Bartosz Kruczyński, also known as artist Earth Trax, is arguably among the leading names in Poland’s current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light and Shall Not Fade –with whom he released his acclaimed debut album in 2020–.

His Lapsus release 'Closer Now', takes a different trajectory to his previous album 'The Sensual World' Shall Not Fade, 2022, fundamentally an energetic and high tempo club record. In contrast, 'Closer Now' focuses on fresh and disparate ideas, with tracks that could typically be classified as more unrestrained B-sides that deconstruct sounds aimed at the dancefloor.

‘Closer Now' is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.

Repressed on vinyl. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases.

Heroes Of Limbo strike again with two stunning interpretations of hiphop and R&B staples on one 45. The mystery funk collective took the scene by storm last summer with their flips on Eric B. & Rakim's 'Don't Sweat The Technique' and Pete Rock & C.L. Smooth's 'T.R.O.Y.', moving all copies on release day. Here the reimagine the Beatnuts unmistakable 'Watch Out Now' and Aaliyah's smash hit 'Try Again' in a their hypnotic, polyrhythmic afrobeat-inspired style. A sure shot double sided slice of musical pineapples.

If one single song is indelibly associated with Johnny Cash, it has to be I Walk The Line - the song that landed him his first American hit in October 1956. But for many, Cash is defined by a single line from Folsom Prison Blues. “I shot a man in Reno, just to watch him die…”
confirmed Cash as a hard-living, fast-shooting guy (Don’t Take Your Guns To Town; Bonanza!) and also saw him identifying with prisoners and prison life. The ‘Man in Black’ had become a friend of Presidents and pop idols; a man whom stars like Bono and Bob Dylan deferred to; a legend courted by fans such as Quentin Tarantino and Johnny Depp.

And though a lot has been written about Johnny Cash since he died in 2003, questions remain about how this man came to dominate the world of popular music - but here, in your hands, are sixteen reasons why…

In 1962 Martin left his record label Capitol and signed with Frank Sinatra’s new label Reprise. His debut album for them was French Style, released in April of that year. Martin had recently released an album of songs sung in Italian and would go on to record an
album of Latino material at the end of that year. French Style came in between the two, and collected a number of songs about France ably arranged by conductor Neal Hefti. At this point, France must have seemed impossibly glamorous, with Brigitte Bardot swanning
around St Tropez, while Grace Kelly raced her sports car around the clifftops of Cannes in Hitchcock’s To Catch A Thief. Beatniks filled the jazz cafés, where the New Wave of French cinema was being discussed over Disques Bleu and café au lait. What’s more, the
majority of songs in this collection focus on Paris – and the City of Lights has been a magnet for Americans ever since the days when Hemingway and F. Scott Fitzgerald and Cole Porter first took up residence there. French Style is delivered with his trademark
charm and ease. So, bon appetit!

Few acts have better captured angst and the agony of young love other than The Everly Brothers. As well as those inimitable harmonies, fantastic songs and Chet Atkins' superb production, the Everlys' success owed much to the fact that Don and Phil were barely out of their teens, and so filled every song with real feeling. Their first recordings led to a series of hits that would come to define the harmonious Rock & Roll of the period; Bye Bye Love, Wake Up Little Susie, All I Have To Do Is Dream, Claudette (penned by Roy Orbison), Bird Dog, Devoted To You, Let It Be Me, When Will I Be Loved, So Sad (To Watch Good Love Go Bad), Walk Right Back, Ebony Eyes and Crying In The Rain. For their influence on The Beatles alone, the Everly Brothers are owed a huge debt of gratitude. The collection of songs found here span Country, Folk, Rock & Roll and Pop, and demonstrate just how influential Don and Phil were on popular music, beginning with those very first sessions in front of their parent's microphone.

Few acts have better captured angst and the agony of young love other than The Everly Brothers. As well as those inimitable harmonies, fantastic songs and Chet Atkins' superb production, the Everlys' success owed much to the fact that Don and Phil were barely out of their teens, and so filled every song with real feeling. Their first recordings led to a series of hits that would come to define the harmonious Rock & Roll of the period; Bye Bye Love, Wake Up Little Susie, All I Have To Do Is Dream, Claudette (penned by Roy Orbison), Bird Dog, Devoted To You, Let It Be Me, When Will I Be Loved, So Sad (To Watch Good Love Go Bad), Walk Right Back, Ebony Eyes and Crying In The Rain. For their influence on The Beatles alone, the Everly Brothers are owed a huge debt of gratitude. The collection of songs found here span Country, Folk, Rock & Roll and Pop, and demonstrate just how influential Don and Phil were on popular music, beginning with those very first sessions in front of their parent's microphone.

Following his discharge from Army Service in 1960, Elvis Presley and his Manager Colonel Tom Parker had eschewed live performance and concentrated instead on Elvis's burgeoning film career. A steady stream of record releases kept Elvis's worldwide audience of fans happy, and June 1962 saw the release of this non-soundtrack LP. Pot Luck reached No.1 in the U.K and No. 4 in the U.S.A due to the compositions Kiss Me Quick, Suspicion (which went on to become one of his outstanding songs of the period), I'm Yours and That's
Someone You Never Forget (co-written by Elvis with Red West). By the end of 1962, Elvis was set to remain at the top of the tree. But this was the year which saw The Beatles and Bob Dylan make their recording debuts. The times were, indeed, a-changin'!

Next up, a luscious cut from two of London's freshest producers, Ollie Rant and Malaika. Dreaming EP capers gleefully between buoyant garage house, old school jungle, soulful deep house and undulating electro. Each track offers a fresh take on a holistic mood, warmth and playfulness radiate from every corner. This one is perfect for almost any situation whether it be a sweaty dancefloor or a solo bedroom rave.

• Darrow Fletcher’s belated success in Europe - from the 70s onwards, but particularly in this century - has been very rewarding from him; he has been thrilled by the interest and admiration for his past work. These are two of his revered Jacklyn label sides; Jacklyn being owned by his father, who named the imprint after Darrow’s sister.

• This Repro coupling will be welcomed by collectors who cannot afford the high price of the originals – many of which are often found in poor condition as they were played the hell out of in 1960s Chicago.

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

Red Vinyl

Introducing Time Is Now's newest recruit, a link up that felt inevitable. A Bristol native, Borai has had a firm foot in the city's bass scene since its inception, his steadfast dedication to rave culture helping to shape what it is today. When he's not curating his own Higher Level label, helping steer the Club Glow collective, or cutting dubplates for Dubstudio, he's exercising his passion for hardware, crafting vital DJ tools which span an impressive crosssection of the hardcore continuum. Naturally EP is a culmination of these endeavours, as well as his far-spanning influences.

We're transported out of Bristol and into late 80's Chicago - the golden era of garage house - via soulful vocals, nebulous melodies and saxophone whispers. It wouldn't be a Borai release, though, without some UK flavours. Rich atmospheric jungle track 'Phosphenes' brings things to a euphoric close, and reminds us of the producer's ambidexterity.

Between 1955 and 1961 Sinatra recorded a string of hit albums for Capitol Records, collaborating with conductor and arranger Nelson Riddle and covering songs that were just superb. Though he’d produce numerous great records later on, it’s Sinatra’s Capitol years that people most associate with him, and which are generally conceded to contain his best work. This collection of wonderful recordings features; I've Got You Under My Skin, Just One Of Those Things, I Get A Kick Out Of You and Night And Day - all classics penned by Cole Porter.

Come Fly With Me, (Love Is) The Tender Trap and Love And Marriage - written by Van Heusen & Cahn. Nice Work If You Can Get It - by George & Ira Gershwin.

Plus, Nice 'n' Easy, Young At Heart, You Make Me Feel So Young, Witchcraft, Three Coins in the Fountain and The Lady Is A Tramp.

Clear Vinyl

Originally released in 2020 on cassette and digitally. more eaze is the nom de plume of Austin, TX mainstay m.maurice, a roving experimentalist who’s explored an astoundingly diverse range of sounds, from drone and computer music to avant-pop and beyond. claire rousay is a San Antonio, TX-based percussionist/composer/sound artist who uses physical objects and their potential sounds as a way to explore queerness, human physicality, and self perception. Together—through a suite of deeply personal aural collages—two of Texas’ most vital and vibrant sonic searchers beg the eternal question: If I Don't Let Myself Be Happy Now Then When?

Although only their debut album together, If I Don’t Let Myself… reveals a profound and fruitful relationship between m and claire. But the symphonic symbiosis goes even deeper still. Outside of musical breakthroughs, the pair helped each other conquer intensely personal changes, with m and claire transitioning and coming out as non-binary and trans, respectively.

As m explains, “to me this record is very much about this process of becoming—trying to reach something and getting there but sometimes not being quite where you want to be but at least getting closer. It’s about feeling alternately empowered and insecure socially as you transition and trying to cope with these conflicting emotions.”

Musically, the album showcases startlingly sincere sets of serrated but sedative situational music. A-side epic Drunk is a sprawling but taut rove of aural duality. Passages of exquisite elegance subtly clash with shimmering shards of sound. Pre-op is a poised and pensive piece of solemn reflection, harrowingly honest and delivered with clarity and composure, while Post-op closes out the set in a wholly uplifting and optimistic flair.

If I Don't Let Myself Be Happy Now Then When? is ultimately about coping during the respective transitioning phase in both of their lives, obliquely blissful and fraught with freedom.

Produced by Laurel Halo and released via Norway’s respected Smalltown Supersound label, Anja Lauvdal’s first solo release, From a Story Now Lost, is a gorgeous musical essay reflecting on time, its perception, and lost histories rediscovered. Finally exploring her own voice after more than a decade of collaborative improvisational playing – starting at her time in jazz conservatory in Trondheim – the album is a jewel of subtle beauty and innovative detail.

A freeform musician on piano, synthesizers, and electronics, Lauvdal’s discography stretches back to 2013 and includes her participation in a myriad of ensembles and collaborations exploring the limits of sound and music in many forms, including noise, jazz, and more. Following her move to Oslo after graduation, she became deeply embedded in the music community there, touring with Jenny Hval as well as playing on her records. When pandemic hit and isolation was the norm, Lauvdal began working on her own, recording her improvisations in an attempt to capture something new for herself

Die zwei Stars, beides hervorragende Sänger, die später zu preisgekrönten Schauspielern wurden, arbeiteten erstmals 1952 zusammen, während Dino immer noch die Hälfte des
Comedy-Duos von Martin und Lewis war. Ihre Freundschaft entwickelte sich in den späten 50er Jahren trotz ihrer sehr unterschiedlichen Persönlichkeiten - Dino entwickelte eine immer
lässiger werdende Herangehensweise, während Sinatra sich als extrovertiert und oft stürmisch erwies. Die beiden fühlten sich auch über ihre italienischen Wurzeln verbunden. Diese LP
offeriert mit "Ghost Riders In The Sky", "South Of The Border" und vielen weiteren Songs einen schönen Querschnitt durch das Country-Genre.