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Seabuckthorn is the alias used by Andy Cartwright for his solo works. Cartwright uses finger picking & bowing techniques combined with various open tunings to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk.

Having grown up in Oxfordshire, Cartwright studied sound engineering in Cornwall and then lived in the cities of London, Paris & Bristol working as a broadcast wireman. He now resides in the French Southern Alps making music.

Cartwright has been actively touring internationally for several years performing in festivals and events throughout Europe.

Various songs have been featured in documentaries, film and contemporary dance. His works has been released since 2009 on labels such as Dead Pilot Records, Bookmaker Records, Lost Tribe Sound, Eilean Rec., IIKKI and Fluid Audio. "Of No Such Place" is his 13th solo releases.

Limited Clear Vinyl edition, 500 copies! Besides playing with the likes of T. Monk, J.Coltrane, A. Blakey and R. Weston, bassist and oud player
Abdul Malik is mostly remembered as one of the first to explore how elements of Middle Eastern and North African music can integrate with Jazz
idioms. Originally released in 1963 on Prestige Records, this is his fifth studio effort featuring Bilal Abdurrahman - alto saxophone, clarinet, Korean
reed flute, percussion, and William Henry Allen - bass, percussion, A peculiar combination of different instruments and sounds for a step into the
Eastern side of Jazz.

John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes can instantly flood his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kungfu fighters, or a mirror holding the gateway to hell.

The music on Lost Themes is there for Carpenter’s acolytes to visualize their own nightmares.

As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfield’s Tubular Bells and Goblin’s Suspiria.“They’re little moments of score from movies made in our imagina- tions,” Carpenter says. “Now I hope it inspires people to create films that could be scored with this music.”

Sacred Bones is now repressing this incredible debut by the one and only master of horror in a bunch of new colors in celebration of the label’s 15th year anniversary.

New pressing of the old RSD LP , now on black vinyl. An essential vinyl release of the Throwing Muses’ mainstay’s 2016’s CD and essay book that featured stories from “her life's most perception-altering junctures” (NPR). “As memoirs, her albums are so intensely personal... as art, they’re arguments for the value of unapologetic individuality” Pitchfork. “This music reminds you how alone you are; it consoles you through its insolubility, comforts you by jabbing you in the chest and letting you know how complex the struggle is, how inaccessible we are to each other but just how universal our pain can be.” The Wire. This sonically rich and fragmented record references to Hersh’s past material and sees her perform on guitar, bass, drums, piano, horns and cello. There’s a mysticism and sense of life wonderment throughout ‘Wyatt At The Coyote Palace’ that also has death as a central theme rather than the contemplation of death itself it’s reaching the end of something and beginning a new life. Tracklist: Side A. 1 Bright 2 Bubble Net 3 In Stitches 4 Secret Codes 5 Green Screen 6 Hemmingway's Tell. Side B. 7 Detox 8 Wonderland 9 Day 3 10 Diving Bell 11 Killing Two Birds 12 Guadalupe. Side C. 13 American Copper 14 August 15 Some Dumb Runaway 16 From the Plane 17 Sun Blown 18 Elysian Fields. Side D. 19 Soma Gone Slapstick 20 Cooties 21 Christmas Underground 22 Between Piety and Desire 23 Shaky Blue Can 24 Shotgun

Repress in soon, note new price. Young Liars is the first major release by the New York City band TV on the Radio. Released in 2003 on Touch & Go Records, the EP helped establish the band's distinctive blending of electronica, doo wop, post-rock, and avant-garde styles. The release featured the single "Staring at the Sun," which would later be remixed and reissued in their full-length album Desperate Youth, Blood Thirsty Babes. It contains an a cappella version of "Mr. Grieves," which was originally a rock song by Pixies, from the album Doolittle. Tracks: A1 Satellite A2 Staring At The Sun A3 Blind B1 Young Liars B2 Mister Grieves.

Mit dreißig Jahren aktiven, schändlichen Dienstes unter ihren Gürteln sind NECROPHOBIC unbestrittene Legenden des Death- und Black-Metal-Undergrounds. Die 1989 von Schlagzeuger Joakim Sterner gegründete Band aus Stockholm vertrat von Anfang an eine einzigartige und furchtlose Vision und bestätigte ihr Können 1993 mit dem mittlerweile legendären Debütalbum 'The Nocturnal Silence'. Indem sie den selbstbewussten Dilettantismus und die primitiven Klänge, die viele ihrer Kollegen schätzten, hinter sich ließen, schufen NECROPHOBIC eine kühne und lebendige eigene Identität und zauberten eine dicht melodische, aber unendlich verruchte Version von makabrem Extrem-Metal hervor, die seitdem von unzähligen weniger bekannten Bands nachgeahmt worden ist. The 'Third Antichrist' ist das dritte Album von NECROPHOBIC und wurde ursprünglich 1999 veröffentlicht. Die schwedischen Black-Death-Metal-Legenden bringen dieses Album nun als eine von insgesamt neun Wiederveröffentlichungen auf den Markt. Wer eine gut produzierte Mischung aus Death Metal und leichten Black Metal-Zutaten mag, sollte um dieses Album keinen großen Bogen machen. Wie schon die früheren Veröffentlichungen 'Hrimthursum', 'Death To All' und 'Satanic Blasphemies' in diesem Jahr, wurde auch 'The Third Antichrist' von Dan Swanö im Unisound Studio remastered.

All Eyez on Me is the fourth studio album by 2Pac and the last to be released during his lifetime. Released on 13th February, 1996, by Death Row and Interscope Records, the album features guest appearances from Dr. Dre, Snoop Doggy Dogg, Redman, Method Man, Nate Dogg, Kurupt, Daz Dillinger, E-40, K-Ci & JoJo, and the Outlawz, among others.

The album features productions by Shakur alongside a variety of producers including DJ Quik, Johnny “J”, Dr. Dre, DJ Bobcat, Dat Nigga Daz, DJ Pooh, DeVante Swing, among others.

The album includes the number-one singles “How Do U Want It” (featuring K-Ci and JoJo) and “California Love” (with Dr. Dre, featuring Roger Troutman) and the hip-hop ballad “I Ain’t Mad at Cha”, along with the Snoop Dogg collaboration “2 of Amerikaz Most Wanted” as a promotional single. It featured four singles in all, the most of any of Shakur’s albums. Moreover, All Eyez on Me made history as the first ever double-full-length hip-hop solo studio album released for mass consumption globally.

All Eyez on Me was the second album by 2Pac to chart at number one on both the Top R&B/Hip-Hop Albums charts, selling 566,000 copies in the first week.

Upon release, All Eyez on Me received instant critical acclaim, and it has been ranked by critics as one of the greatest hip hop albums, as well as one of the greatest albums of all time. In 2020 the album was ranked 436th on Rolling Stone‘s updated list of the 500 Greatest Albums of All Time.

Who is Robert Ellis? At first glance, he's simply a smiling, longhaired,
twenty-two-year old in a hand-stitched western shirt and Dwight Yoakamtight blue jeans - But there's more to this youthful Houston, Texas native
than meets the eye
The young songwriter's second release and debut for New West Records is an
impressive and diverse concept album split between five breathtaking folk songs
and five soon- to- be country standards. Listening to Photographs, one finds it
difficult to pigeonhole Robert Ellis. It's even harder to remember that he's barely
just begun.

To listen to Sarah Mary Chadwick's music is to be a quiet observer to her
thoughts on love, death and mental health - Sometimes anguish bears
itself in sullen, dreamy vs dreary moments, but more often torment
manifests at the break of Chadwick's voice as she sings painfully
vulnerable, self-aware lyrics
Chadwick is a singer/ songwriter and visual artist, based in Melbourne. After
moving to Australia from New Zealand to pursue a career in music, Chadwick
spent a decade fronting the grunge band Batrider. In 2012 she shifted focus to
her now prolific solo career. Essentially Chadwick's work is basic reportage of
events and observations from her own life, creating something exactly realised
yet completely relateable. Chadwick's performance remains singular and complex
as she simultaneously savors and is repelled by the podium that her creativity
affords her, acknowledging that it's a position of power being on a microphone
and how ..it's a desperate demand to be seen. It's funny and really sad. These
days, I just want to be an entertainer.''
I always write a lot so I love it when songs can find homes in the outside world.
Track one 'Flipped It' was recorded in the "Me and Ennui" session, and I couldn't
find a comfortable place for it on that record. Track Two 'All the things...' was
recorded during the "Please Daddy" sessions, earlier that same year in 2019.
Pressed on 7" White Color vinyl.

MCVCVP turns sound into a stream - In four tracks, they give us a place
to float, a deep pool of water
We listen to what is underneath. Continuity is the world we navigate, an eternal
vibration with all its nuances. Inside the water, there's no difference between
playing and finding the truth "non contextual and fluid " that carries us through
time. In MCVCVP, Carbon and Palestine open a window for us to stare into the
vortex where sound lives: pianos in abandoned rooms, a mysterious voice with a
dress, dusty tables and painted clouds, low light, blue walls, mirrors, echoes
without a ghost. A fine line between mysteries that remain close, the wish to be
dissolved in playful darkness. Each sound is alive and has a story that continues.
Staring are the open eyes of all the people who were. Not a scary one, just the
story of being. Pressed on Clear Blue with Black and White Smoke Color vinyl.

A "cheval de frise" is a military defensive structure and the name Thomas
Bonvalet and Vincent Beysselance chose for their post rock duo, creating
anxious, agitated music with perpetually changing, almost baroque,
patterns
Urgent, emotional and paradoxically structured and thought out in the finest
detail, it drew much of its influences from the many forms of 90s American posthardcore, while being undeniably singular. The formation was instrumental and
the bass was abandoned for an amplified classical guitar. The band released their
first eponymous album in 2000 on Sonore, a label based in Bordeaux. It was well
received, allowing Cheval de Frise to tour all over Europe. Their second album,
'Fresques sur les parois secrètes du crâne', was recorded in 2002. The band split
in 2004 leaving their mini album 'La Lame du Mat' to be released posthumously.
Remastered by Carl Saff, 'Cheval de Frise' is reissued on New York label
Computer Students and is available for the first time ever in cassette and double
LP. The vinyl version is presented in a beautiful gatefold sleeve with an impressive
poster. The whole thing is packaged in a sealed foil pouch, a trademark of the
label.
"Intense, energetic, and audacious, this music is thrilling, unforgettable." - Pop
Matters
"An impressive debut that lingers in between pleasantry and pandemonium, o?
ering forty minutes of odd, deserving attraction." - Tiny Mix Tapes
"Highly in?uenced by many early jazz artists, this is an album that - in many ways -
de?es description." - Babysue
"This band is incredibly unique, and their music knows very few boundaries. What
these two people do with their instruments is rather amazing." - Ink 19

We Are Busy Bodies proudly reissues Kohske Mine Quintet's 1973 album,
Daguri
Originally issued on Victor Records, the album has been remastered and includes
replica insert and obi

MATTERS UNKNOWN is the new project led by multi-instrumentalist and
composer Jonny Enser.We Aren't Just is the debut album from MATTERS
UNKNOWN – Jonny Enser from Nubiyan Twist's solo project
Over 14 tracks, it travels through Afro- jazz, celestial blues, soulful funk,
electronica, hip hop referencing influences such as Mulatu Astatke, Pat Thomas
and Tony Allen all of whom he has worked with via Nubiyan Twist.This album
features some of the UK's finest young players including members of Nerija, Noya
Rao, Golden Mean and COLECTIVA. For fans ofJazz is Dead and Emma- Jean
Thackray. Every track on the album is inspired by a facet of Jonny's personal
development; drawing from his relationship to the city, whether in the delta
regions of the Mississippi river or along London's arterial Thames. The album is a
material testament to the flexibility inherent to MATTERS UNKNOWN; it can be
orchestrated to accommodate a 15-strong orchestra, replete with a string section
to move you to the dancefloor as Jazz originally intended, or stripped down to the
bare bones of a trumpet and tuba- led quartet whose intentions remain all the
same; to pierce into the audience's soul.
Jonny is honest, often laying bare his personal plights with his physical disability
and mental health, and the steep – yet rewarding – uphill climb as a musician and
Jazz instrumentalist. We Aren't Just is a multi- faceted study of the self, one's
relationship with the external world; the material, and the living within the inert.

German-American pianist Benjamin Lackner makes his ECM debut with a
star-studded quartet of Manu Katché on drums, trumpeter Mathias Eick
and Jérôme Regard on bass
Mathias and Manu share a longstanding association with the label and their
respectively unique instrumental signatures can be traced across this set of
exclusively original material - eight pieces by Benjamin, one by Jérôme. The
bassist and the leader's partnership goes all the way back to 2006, when, Jérôme
joined Lackner's trio, which remains active until today. Two decades of close
collaboration have moulded them into intimate colleagues, who complement
each other's lines intuitively. Mathias Eick and Manu Katché's effortless
musicianship enhances the quartet's fluid interplay.
Last Decade was recorded in Studios La Buissonne, Pernes- Les- Fontaines and
produced by Manfred Eicher.
Benjamin Lackner: piano
Mathias Eick: trumpet, voice
Jérôme Regard: double bass
Manu Katché: drums

This album by German saxophonist, singer and composer Stephanie
Lottermoser's is about the aspiration for independence in all aspects of
life, finding your own voice, to deal with setbacks, and to generate
strength from those experiences
When it comes to music, Lottermoser has always consequently freed up space to
develop her own unique and recognisable language. Already the opener "Love
Again" makes it clear: This is Stephanie Lottermoser. Stylistically she stays true to
her distinctive synthesis of jazz, soul, funk, and pop - which is already known from
her previous album 'Hamburg'. "At best I try to develop by refining my own sound
and to free myself from the expectations of others."
The result: Eleven songs with clean compositional lines, catchy melodies,
emotionality and subtle virtuosity, far removed from academic sobriety and
affinity for technology. Or to put it in other words, Stephanie Lottermoser
deliberately scales down and frees up space.

On the album Opening, Tord Gustavsen reveals a fresh angle to his
particularly unique trio investigations into Scandinavian folk hymns,
gospel, chorale and jazz, as he introduces a different voice on bass
With a new fellow- traveller on board and its recording premiere in Lugano's
Auditorio Stelio Molo, the trio discovers inspired new ways to interact with each
other, using innovative approaches to sound and technique in the process. Made
up in equal parts of intricately textured improvisations and understated melodic
hooks, the group's conversations bring an enticing unfamiliarity to the language
the Norwegian pianist has developed over almost two decades of collaboration
with ECM.
Tord Gustavsen: piano, electronics
Steinar Raknes: double bass, electronics
Jarle Vespestad: drums
Press:
"Vibrates between the introspective and the dramatic in rich and singular ways.
Scene-setting opener 'The Circle' sees Gustavsen exploring a modal melodic line
of beguiling simplicity, with the trio's sotto voce approach creating an atmosphere
of hushed intimacy." - **** Jazzwise (Editor's Choice)
"The focus of Opening remains the playing from Gustavsen and the rich
accompaniment from his fellow musicians, creating an atmosphere perfect for a
walk by a cabin at dawn, with the sun peeking in through the trees." - Pitchfork
"Norwegian piano star Tord Gustavsen's long-honed recipe of low-key folk songs,
gospel, classical music and jazz gets a graceful makeover on Opening - with new
bassist Steinar Raknes, a player of uncannily responsive precision alongside
regular percussionist Jarle Vespestad, while subtle electronics sometimes create
ghostly horn-player effects." - The Guardian
"For Gustavsen, pieces such as Floytelat and Vaer Sterk, Min Sjel are routes into
the sort of cerebral mysteries that the former church pianist has made his own.
The first is a funereal theme where the notes he sprinkles like raindrops build into
a fatalistic flood. The second, from the Norwegian Hymnal, is played with an
innocent simplicity. Both are equally powerful...Remarkable music, Norwegian
blues." - The Times
"Quietly beguiling release...With lesser artists the uniformity of mood and
reluctance to turn up the volume would pall. But there's an artistry to Gustavsen's
compositions, a skill in their execution, and a warmth to their spirit that keeps the
listener engaged." - LondonJazz News

'While We Wait for a Brand New Day' is the third part of the Oddgeir Berg
Trio's trilogy around the dark hours of the day
The album was recorded under immense pressure. With only three days left
before Norway went into a lockdown, the trio headed to the studio and finished
the album in an intense session. Remarkably, the tone of these nine new originals
is hopeful and upbeat. If previous Oddgeir Berg Trio albums made you think of
ECM, the new one carves out a more personal sound.
Berg remembers the process as one of careful touches: "To me, it feels like an
evolving landscape. I have quite a few synths and effect pedals in my locker, but I
try not to overdo things." In conceptual terms, this is where the circle closes - now,
you can put on 'Before Dawn' and simply continue listening.

Nikki Lane's remarkably dazzling third album Highway Queen, sees the
young Nashville rebel emerge as one of country and rock's most gifted
songwriters.Produced by Lane and fellow singer-songwriter Jonathan
Tyler, and recorded in Denton, Texas and Nashville, Tennessee, Highway
Queen is an emotional tour-de-force
Blending potent lyrics, unbridled blues guitars and vintage Sixties country- pop
swagger, Lane's new music will resonate as easily with Black Keys and Lana Del
Rey fans as those of Neil Young and Tom Petty. Highway Queen starts with the
whiskey-soaked restlessness of € 700,000 Rednecks, a rowdy call to action, and
ends on the profoundly raw Forever Lasts Forever, where Lane belts freely,
mourning a failed marriage, the lighter shade of skin left behind from her wedding
ring. Lane's journey to heartbreak takes exquisite turns. Companion is pure Everly
Brothers' dreaminess ( I would spend a lifetime/ Playing catch you if I can ).
Elsewhere, she goes on a Vegas bender on the rollicking Jackpot, fights last-call
blues ( € Foolish Heart ) and tosses off brazen one- liners at a backroom piano
( Big Mouth ). Lane, a Greenville, South Carolina native, is a unique songwriter
who didn't take the traditional country artist path. Her backwoods roots are
undercut by her chosen career as a fashion entrepreneur (she's the owner of
vintage clothing boutique High Class Hillbilly) who has lived " and been
heartbroken in " Los Angeles, New York and Nashville. So it's no surprise that her
music seamlessly crosses musical genres with lyrics steeped in the doomed
perseverance only a true dark horse romantic knows. Lane's rapid rise in music is
thanks to the fervent critical acclaim of her debut record Walk of Shame and
2014's Dan Auerbach-produced All Or Nothin'. Pressed on Blue Jean Color vinyl.

Krill's debut album Alam No Hris is celebrating its tenth birthday in 2022
With assistance from actual label Sipsman, the band's fake label Sren Records
has remastered Alam No Hris for the occasion and pressed it to vinyl for the very
first time, available November 18 worldwide. Simply put, Alam No Hris is a baker's
dozen of nervy, charming, lofi missives disguised as garage pop songs. Whenever
I think about Alam No Hris the repetitive, incoherent joy on display in many of the
songs I think of it as ecstatic', bassist/ vocalist Jonah Furman says. The whole
thing is like someone stammering to express themselves in a moment of
overwhelming emotion. Ecstatic in the full sense, of standing outside of yourself.

After a long period of time separated from their bandmates due to COVID,
The Homeless Gospel Choir and Teenage Halloween went into their
respective studios and recorded two new songs each
Derek Zanetti of The Homeless Gospel Choir had this to say about the process:
"After spending months apart from each other and feeling the bitter bite of
quarantine, we wanted to write songs for each other to help us get through the
lonely times. "Pittsburgh Shoes and "Harrisburg Shoes" are love songs written to
encourage and uplift one another and remind ourselves about the goodness that
is to come.
It was amazing for us to all be in a room together playing music and capturing the
magical moments of being a band. All of the elements and musicality that is so
important, small nuances, and inside jokes are all laid out in a way that you can
hear everything." Pressed on Opaque Yellow Color vinyl.

Africa Corps Live at The Whisky A Go Go 30th
December 1981
Ever wondered about what seeing a blossoming Savage Republic,
formally known as Africa Corps, up close must have felt like? 'Africa
Corps Live at The Whisky A Go Go 30th December 1981', is here to take
us right there, fiercely catapulting listeners in front of one of Los Angeles'
most iconic stages, back when a young band of UCLA students (Bruce
Licher, Mark Erskine, Philip Drucker and Jeff Long), was starting to make
its way in the punk underground
Their extraordinary first time at the Whisky was recorded on cassette, direct from
the sound board, on December 30th, 1981. We're lucky enough to witness most of
the future 'Tragic Figures' tracks in a process of highly creative gesta- tion, in the
middle of being developed. The original tape has now been remastered by Warren
DeFever (His Name Is Alive) and unearths a most cathartic performance. It's hard
to fathom, but the four musicians had only been playing together for about eight
months at that point, mostly rehearsing in the concrete parking garages at UCLA.
Those formative experiences are brilliantly re- flected in the sound of 'Africa
Corps Live at The Whisky A Go Go 30th December 1981', with its hypnotic blend
of industrial and piercing post punk.

Africa Corps Live at The Whisky A Go Go 30th
December 1981
Ever wondered about what seeing a blossoming Savage Republic,
formally known as Africa Corps, up close must have felt like? 'Africa
Corps Live at The Whisky A Go Go 30th December 1981', is here to take
us right there, fiercely catapulting listeners in front of one of Los Angeles'
most iconic stages, back when a young band of UCLA students (Bruce
Licher, Mark Erskine, Philip Drucker and Jeff Long), was starting to make
its way in the punk underground
Their extraordinary first time at the Whisky was recorded on cassette, direct from
the sound board, on December 30th, 1981. We're lucky enough to witness most of
the future 'Tragic Figures' tracks in a process of highly creative gesta- tion, in the
middle of being developed. The original tape has now been remastered by Warren
DeFever (His Name Is Alive) and unearths a most cathartic performance. It's hard
to fathom, but the four musicians had only been playing together for about eight
months at that point, mostly rehearsing in the concrete parking garages at UCLA.
Those formative experiences are brilliantly re- flected in the sound of 'Africa
Corps Live at The Whisky A Go Go 30th December 1981', with its hypnotic blend
of industrial and piercing post punk.

Double LP, Gatefold sleeve, DL card with Bonus tracks. 2CD Gatefold wallet + booklet. Remastered and re-appraised 31-track collection of Pearls Before Swine rarities from the private tape collection of the late, great Tom Rapp. Also available as an expanded 45 track double CD collection. For the first time on vinyl, this beautiful collection brings together alternate versions of Rapp originals ‘The Jeweler’, ‘Translucent Carriages’ and ‘Rocket Man’. It also includes jaw-dropping covers of Rapp’s contemporaries Cohen, Dylan and Joni Mitchell, with bonus download material featuring seven amazing live versions plus a never before released intimate show at The Other End circa 1976. A goldmine of possibilities from a prospector with a silver tongue and stories to tell. ‘The Wizard Of Is’ is a weird and wonderful trip inside its creator’s mind, from sonnets and space hymns to stories of revolution and the war. It’s an American Gothic fantasy that straddles old tyme America and the outer edges of an imagined stratosphere. “Extremely influential.” Rolling Stone. // “A more intoxicating version of folk psychedelia.” Wire magazine. // “Shimmering folk hymns.” Spin magazine. // “Unabashedly poetic.” Crawdaddy. // Track listings: VINYL Side A A1 Where Is Love? A2 Butterflies (Alternate Version) A3 Love, You Are Not Alone A4 Grace Street A5 Translucent Carriages (Alternate Version) A6 Space. Side B B1 Rocket Man (Alternate Version) B2 City Of Gold (Alternate Version) B3 For Free B4 Wizard Of Is (Alternate Version) B5 Riegal (Alternate Version) B6 Sail Away (Alternate Version) B7 Footnote/When The War Began. Side C C1 Everybody's Got Pain (Alternate Version) C2 Crawling Towards Bethlehem C3 I'm Going To The City (Alternate Version) C4 Can't Go Back C5 Prisoner Of War C6 Another Time (Alternate Version) C7 If You Don't Want To (I Don't Mind) (Alternate Version) C8 (Oh Dear) Miss Morse (Alternate Version). Side D D1 The Jeweler (Alternate Version) D2 The Lincoln Dream D3 There's No Other (Like My Baby) D4 Roadside Hotel D5 Song About A Rose (Alternate Version) D6 Mary Mary D7 Crew Man D8 Suzanne D9 Oh Sister D10 Full Fathom Five/I Shall Not Care. Bonus download tracks: 1 Translucent Carriages (Live) 2 Island Lady (Live) 3 Morning Song (Live) 4 Marshall (Live) 5 Ballad to An Amber Lady / I Saw the World (Live) 6 Prayers Of Action / Candle (Live) 7 Rocket Man (Live)……. CD. Disc One: 1 Where Is The Love? 2 Butterflies (Alternate Version) 3 Love, You Are Not Alone 4 Grace Street 5 Translucent Carriages (Alternate Version) 6 Space 7 Rocket Man (Alternate Version) 8 City Of Gold (Alternate Version) 9 For Free 10 Wizard Of Is (Alternate Version) 11 Riegal (Alternate Version) 12 Sail Away (Alternate Version) 13 Footnote / When The War Began 14 Translucent Carriages (Live) 15 Island Lady (Live) 16 Morning Song (Live) 17 Marshall (Live) 18 Ballad to An Amber Lady / I Saw the World (Live) 19 Prayers Of Action / Candle (Live) 20 Rocket Man (Live)… Disc Two: 1 Everybody's Got Pain (Alternate Version) 2 Crawling Towards Bethlehem 3 I'm Going To The City (Alternate Version) 4 Can't Go Back 5 Prisoner Of War 6 Another Time (Alternate Version) 7 If You Don't Want To (I Don't Mind) (Alternate Version) 8 (Oh Dear) Miss Morse (Alternate Version) 9 The Jeweler (Alternate Version) 10 The Lincoln Dream 11 There's No Other (Like My Baby) 12 Roadside Hotel 13 Song About A Rose (Alternate Version) 14 Mary Mary 15 Crew Man 16 Suzanne (Alternate Version) 17 Oh Sister 18 Full Fathom Five / I Shall Not Care 19 Frog In The Window (Live at The Other End, 1972) 20 There Was A Man (Live at The Other End, 1972) 21 The Jeweler (Live at The Other End, 1972) 22 Another Time (Live at The Other End, 1972) 23 Every Change Is A Release (Live at The Other End, 1972) 24 Rocket Man (Live at The Other End, 1972) 25 Love/Sex (Live at The Other End, 1972)

It’s been a great year for Andy Blade & Eater. Ant was released worldwide through Cleopatra, some high-profile gigs with Dinosaur Jr, Jah Wobble and U.S up and comers The Darts and more to come now big boys AEG have taken the band onboard to secure gigs. As usual singer Andy Blade is doing it in his own inimitable way; not for him a backing band of septuagenarians. Instead, he’s got in some young pistols called Jo Jo & The Teeth (a band in their own right) which give the songs an intensity and relevancy beyond your traditional punk audiences meaning the sky’s the limit for the band. The new Eater single on Antenna is original Eater’s version of Alice Cooper’s classic ‘Eighteen’ but renamed after their average ages at the time 'Fifteen'. It’s backed by the controversial 'Why Don’t You…?' (censored version). Both tracks are not on 'Ant' and like 'Ant' features the found Dave Goodman remixes/missing guitar parts. The single is in translucent clear vinyl and colour picture bag with 2 sided lyric insert. The Deluxe version includes a signed A3 folded poster & CDR with rare live Eater Tracks, Andy Blade solo stuff and hilarious audio book excerpts from his acclaimed 'Secret Life Of A Teenage Punk Rocker'. Again done in his own way! Andy Blade "Fifteen is an outtake from the Ant sessions (too many covers). We made Alice’s song our own. The guitars lift it from crucification to glorification. Punchy as fuck. The flip side, Why Don't You? Is a song people will know with a word we can't say anymore."

It’s been a great year for Andy Blade & Eater. Ant was released worldwide through Cleopatra, some high-profile gigs with Dinosaur Jr, Jah Wobble and U.S up and comers The Darts and more to come now big boys AEG have taken the band onboard to secure gigs. As usual singer Andy Blade is doing it in his own inimitable way; not for him a backing band of septuagenarians. Instead, he’s got in some young pistols called Jo Jo & The Teeth (a band in their own right) which give the songs an intensity and relevancy beyond your traditional punk audiences meaning the sky’s the limit for the band. The new Eater single on Antenna is original Eater’s version of Alice Cooper’s classic ‘Eighteen’ but renamed after their average ages at the time 'Fifteen'. It’s backed by the controversial 'Why Don’t You…?' (censored version). Both tracks are not on 'Ant' and like 'Ant' features the found Dave Goodman remixes/missing guitar parts. The single is in translucent clear vinyl and colour picture bag with 2 sided lyric insert. The Deluxe version includes a signed A3 folded poster & CDR with rare live Eater Tracks, Andy Blade solo stuff and hilarious audio book excerpts from his acclaimed 'Secret Life Of A Teenage Punk Rocker'. Again done in his own way! Andy Blade "Fifteen is an outtake from the Ant sessions (too many covers). We made Alice’s song our own. The guitars lift it from crucification to glorification. Punchy as fuck. The flip side, Why Don't You? Is a song people will know with a word we can't say anymore."

Massimo Morini, has been technical director and conductor of San Remo festival for over 30 years. On his conducting debut in 1995 he was only 26 years old. Before his big hall music adventure started, back in 1985 he formed his first italo disco group – J.F & Hitwave, later to be transformed into Love Kills (I want to Become). A forgotten and highly demanded among obscure 7″ italo collectors tune titled “Dance Floor Girl” is now brought back to the light of day on a 12″ vinyl. The reissue contains previously unreleased 12″ version as well remixes by Flemming Dalum, Italoconnection and Also Playable Mono.

Through Twelve is an electronic-dyed combo powered by 80’s synthpop and shiny post-production by Italoconnection. Their Mini LP “Inner bridges” is full of layered basslines, pulsating rhythms, catchy vocals and retro synth warmth. Tracks such as the richly melodic “Silent Radio’ and the New Order-ish sweeps of “New Town” are irresistible invitations to stand-up and move your hips.

T12 have a tendency for emotive analogue leads, expressive pads and inimitable synth sequences, in duet with electric bass phrases.

Through12 signature sound becomes immediately recognizable in the dancefloor-ready song “This Love”, starring Italo disco icon Fred Ventura. “Silent Radio” receives an exuberant electro-remix treatment from Italoconnection and “This Love” goes hand-in-hand with Mono Han version.

A raving machine... Killer of a kind with a solid ambiance and a superb visual.

Renude19’s debut single Blah Blah Blah is a Synthpop protest song; an original piece of music sampling Greta Thunberg’s famous Blah Blah Blah speech from the Youth4Climate Conference in Milan, in September 2021.

The feel of the track is reminiscent of Kraftwerk, Cabaret Voltaire and early Human League, a dark marble slab of electro, sat on a mid-tempo break beat and underpinned by classic synths that give the piece a beautiful retro feel. The track has the vibe of a house record, a slow builder that reaches a subtle climax and makes a hard hitting point about climate change.

The song itself is powerfully delivered by Brighton based vocalist Christabel, who has recorded with artists such as the Freemasons and Skylab 9. The piece has an unusual song structure with Greta Thunberg sampled in the chanted chorus, and her speech used to dramatic effect.

Recorded in Brighton UK by producer Ash Huntington; engineered by veteran techno artist Iain Rive (Cydonia, Semsis, Universal Sound); mastered by the wonderful Walter Coelho; and the sleeve design was created by the world class album sleeve designer Pete Hayward, who has designed for Paul McCartney, Kylie Minogue, Simon Cowell, Universal Music, Sony and Wham!

The single is being promoted with Facebook and Youtube campaigns, has already had over 65’000 plays on Youtube, and is gaining radio support from 6music DJs.

'Night Of The Endless Beyond', the sophomore album by Lord Of The Isles AKA Neil McDonald for the ESP Institute, had almost become a mythical piece of work. The tracks very slowly crept into formation from the lowest depths of 2021, and once the completed album finally made the leap from creation into manufacturing, an entirely new onslaught of follies and delays awaited at the pressing plant. We began to laugh, for not only did Mario Hugo’s otherworldly sleeve artwork visually translate this music so well, but it was an uncanny premonition to the album being lost in space, falling through a black hole, evaporating into the aether like a dream that never really happened. But, at long last, ground control has confirmed contact! It did happen, it will arrive, and it’s not a myth.
Listening to 'Night Of The Endless Beyond' now feels like the return of a strayed friend, one whose distance left us pining for an embrace. Although this Techno relies on unassuming means, there is a remarkably complex and persuasive emotional statement embedded here, insisting we learn to endure the long game and allow ourselves patience to investigate and appreciate the minutiae contained not only within the notes, but their negative space. From its introduction, through its mellow crests and valleys, there is a conveyance of restraint — subtle dynamics that quietly beg for attention, repetition so hypnotic that imaginary melodies are inescapable, transient peaks so deliberately scaled that we mourn the subsequent decay. In accordance with Neil’s ESP debut, 'In Waves', we never feel attacked by instrumentation but shielded from sharp edges, able to step inside the music, breathe the air it occupies and know its true intentions, whether bright or bleak.
Just prior to the album close, a film dialogue excerpt summarizes everything quite honestly by proposing, “The truth of the universe is waiting … the truth of what is … it’s all going to go away … everything … into blackness … the void … and nobody is in charge.”
“…and what do you do with that?”
We stare long into the 'Night Of The Endless Beyond' and answer… “You smile.”

Anyone who has had even half an eye on the electro scene over the past decade will already be familiar with Emile Facey aka Plant43's unique sound, mixing an uncompromising approach to off kilter rhythms and machine-led funk with an emotive and powerful use of melody. This trio of ultra fresh tracks were penned for recent live shows in The Hague and Berlin and are brimming with the energy and excitement Facey felt on his return to the live circuit. 'Remote Signals' is led by a booming kick drum heavy enough to command any audience with Facey weaving ever more complex webs of melody around it. 'Searching The Skies' builds a mysterious atmosphere based around a call and response between characterful melodic elements while 'Constantly Morphing Entity' closes the EP with a flourish of forward moving beats and an SH101 bass line designed to move any dancefloor.

REISSUE

Spanky Wilson has a famously powerful voice but that is matched by just as potent a horn section, with some added staccato guitar chords and a super groovy rhythm section here on this much warranted reissue. She is a conduit for "The Funk' here with a mega fine vocal performance time after time on this well curated selection of classic covers. The likes of The Doors' 'Light my Fire', Cream's 'Sunshine of your Love' and 'Loveland' are all included and stand right out. Each one shows a different but equally essential side to the voice of Spanky Wilson. All tunes have been newly remastered for this release by P-Vine.

ft. Cinna Peyghamy & Jay Duncan Remix

Soreab returns to Control Freak for a full length white label release - a masterclass in organic, dubbed-out, dancefloor psychedelia, featuring live recordings by sound artist and modular percussionist Cinna Peyghamy following a recent collaboration with Azu Tiwaline.

As a DJ, producer and co-founder of Baroque Sunburst, Italian-born Soreab has been a mainstay of London’s underground electronic music scene for over 5 years. On ‘Teleportation’, he manipulates and twists Cinna’s deft percussion work into a distinct range of UK styles, ranging from 170bpm euphoria to subby, half-time ex- plorations from the school of FWD>> and Plastic People.

On the B2, Jay Duncan (Phantasy Sound / Intergraded) takes a decidedly minimal tack on her remix of ‘Untitled 1’, with deep, dubby chord stabs and immersive rhythms for late night dancefloor revelations.

For Fans Of: Om Unit, Shackleton, Al Wootton

Limited pressing of just 300 hand-stamped records - don’t miss your chance to grab one

Mastered & cut by Ruy Marine @ D&M, Berlin

Yusuke Yamamoto of Kyoto, Japan graces the YUNG DUMB roster with three lush and original house compositions, plus a remix from Detroit deep house legend Rick Wade.

Dressed in a powder blue suit with the frilly shirt to match, DJ Yoda invites you to be his +1 for ‘Prom Nite’, his new album promising retro Americana full of daydreaming reverie, international megastar guests, trip hop acknowledging the likes of Morcheeba and Nightmares on Wax, and the turntable extraordinaire’s bread and butter of cuts, beats and rhymes.

Certainly no stranger to retro sounds having famously peppered his DJ and AV sets with the unexpected the world over, and his ‘How to Cut n Paste’ mix series going all the way back to the 30s, Yoda’s harp-laden puppy love vibe spreads from the sweet and mellow sound of 2019’s ‘Home Cooking’, an album described as ‘boundary-breaking’ by Mojo upon slotting nicely into the UK’s blooming jazz canon. Think deliciously harmonised doo-wop murmuring ‘Goodnight Sweetheart’ with an eye for dreamboats en route to Makeout Point – on ‘My Energy’, Eva Lazarus takes the form of an earth angel, with Yoda on jukebox cut-ups, taking it back to starry-eyed, clean cut days of wonder (or more recently, Little Mix’s ‘Love Me Like You’).

Beginning enigmatically with the assistance of Hollywood A-lister (and former next-door neighbour) Lily James, ‘Breathe’ demonstrate Yoda’s continued evolution as a musician (not to mention shrewd decision maker), with James’ vocal confidence - a little Lana del Rey to her breathiness - returning on the velvet-smooth ‘Airplane Mode’. It’s a smartly executed soundclash accentuated by LA rapper Choosey, the star of the album’s straightest hip-hop shooter ‘Harder I Rock’. Homeboy Sandman adds some kick to the prom punch with typical wordplay sent down ‘Coconut Grove’, and Liam Bailey is perfectly cast for the darkly cinematic sway of ‘Don’t Even Try It’.

On an album of many talking points, the LP’s crowning glory is opening single ‘Feel Like Home’: featuring the vocal comforts of the House Gospel Choir, it’s your go–to pick-me-up when the chips are down, targeting the hairs on the backs of necks like a softer focus version of Jamie xx’s ‘Loud Places’. Extended into an alternative, equally uplifting form by Beardyman’s ‘Don’t Mean Thing’, summer festival season already has its homecoming anthem.

With tongues wagging, the twists and turns step away from Heartbreak Ridge when O Love tucks into the mouthwatering shopping list funk of ‘Way Home’; and ‘Lesson 1956’, featuring Jamie Cullum and DJ Woody, jauntily pays homage to classic Cut Chemist alchemy, Yoda’s celebrated turntable tomfoolery back in full effect and extending the flavours found in ‘Home Cooking’.

Again maximising the experience and enjoyment gained from recording live instruments and prioritising songs over beats, Yoda continues to progress with a mixture of risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making ‘Prom Nite’ a date to remember.

Magpie artwork supplied by London’s ENDLESS, whose signature style has tagged Liberty and Lagerfeld as but two high profile clients, Yoda again maximises the experience and enjoyment gained from recording live instruments and prioritising songs over beats. His continued progress mixes risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making ‘Prom Nite’ a date to remember.

Featured 7” Vinyl singles:
Feel Like Home (feat. The House Gospel Choir)/ Don’t Mean A Thing (feat. Beardyman)
My Energy (feat. Eva Lazarus)/Lesson 1956 (feat. Jamie Cullum & DJ Woody)