Cerca:old boy

Repress!

KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was a Hip Hop group in the early 90s perhaps best known for launching the career of acclaimed MC/Producer MF Doom (known during his KMD tenure as Zev Love X). After guesting on 3rd Bass' "The Gas Face," the trio (Zev, brother Subroc, and Onyx) released the acclaimed and overlooked "Mr. Hood" full-length. Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was more comical and included a great deal of clips from old children's recordings, mostly notably a sample of the Seaseme Street character Bert on the single "Who Me" This is the official Elektra Records/Traffic Entertainment Group re-release with original artwork and track listing in it's entirety. Cutting edge, ahead of it's time production and skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features the singles "Peachfuzz", "Who Me" and "Nitty Gritty" (feat. Brand Nubian). This is one Rap album that is not to be missed.

Husband-and-wife soul duo Ike & Tina Turner produced an astounding string of hits during the 1960s and 70s, before Tina found the will to go solo. Unjustly overlooked at its time of release, the duo’s first blues album finds Tina’s passionately powerful voice holding plenty of grit and Ike’s guitar a restrained accompaniment throughout; the take of Sonny Boy Williamson’s ‘Crazy ‘Bout You Baby’ has gripping electric piano and buzzing blues harp and Ike’s ‘Grumbling’ is a killer guitar groove. A good mix of covers and originals, it shows how well the duo could work in the blues idiom. Another great LP for all Ike & Tina fans!

Formed in suburban Maidenhead by singer Tony Pook, guitarist/pianist Roy Apps and guitarist Robert Collins, Heron solidified when Collins was replaced by uitarist/mandolin player GT Moore. After a debut album recorded at the Pook family farm, specially priced double LP Twice As Nice And Half The Price achieved a fuller sound with guitarist Mike Cooper, bassist Mike Finesilver, drummer Terry Gittins and guitarist Willie Boazman. The epic set sounds absolutely brilliant from start to finish, with strong vocal harmonies, intricate guitar interplay and excellent musical communication. Arguably Heron at their absolute best!

Pressed On White (Lp1) & Red (Lp2) Vinyl. How do you define the music of Mantronix? Is it Hip Hop? Electro? Funk? House? Maybe the answer is all of the above (or is it none of the above?). It is true that Mantronix will be remembered for their multi-faceted sound as well as their ability to bend and blend genres flawlessly into a cohesive musical tapestry, but they will also most importantly they will be remembered as musical innovators and sub- genre pioneers. Kurtis Mantronik and MC Tee formed the group Mantronix In the early 80s. Their Sleeping Bag Records debut: Mantronix: The Album shot to commercial success on the strength of their debut single, "Fresh Is The Word". The influence of this groundbreaking debut is still felt in popular music today, having been sampled by the likes of Beastie Boys, Beck, The Prodigy and more. Kurtis Mantronik was also as dangerous behind the desk as he was behind the boards. Working as A&R for Sleeping Bag while signed to the label, Mantronik also helped recruit, sign, and produce for artists such as T La Rock and Just-Ice. Notable records from this era include, Just Ice's "Cold Gettin' Dumb" and "Back to the Old School" as well as T La Rock's "Breaking Bells (12" Version)". Traffic Entertainment Group in conjunction with Sleeping Bag Records and Warlock Entertainment now presents; Mantronix: King of the Beats, The Anthology 1985-1988. This carefully curated double LP compilation combines the best of Mantronix's work from the early, and arguably, best era of their career into one amazing listening experience. Whether you are an avid Mantronix fan or are looking for a place to start - this is the collection to wrap your ears around.

A1. Mantronix - Needle To The Groove (12” Version) A2. T La Rock - Breaking Bells (12” Version) A3. Just-Ice - Back To The Old School B1. Mantronix - Fresh Is The Word (12” Version) B2. Just-Ice - Turbo Charged B3. T La Rock - Breaking Bells (Dub Version) C1. Mantronix - We Control The Dice C2. Just-Ice - Cold Getting Dumb C3. Just-Ice - Cold Getting Dumb II C4. T La Rock - Bass Machine (12” Version) D1. Mantronix – Bassline D2. Tricky Tee - Johnny The Fox D3. Mantronix - Fresh Is The Word ‘88

Ein exzellenter Tribut an den Budapester Komponisten und Pianisten Stephen de Bastion, dessen Karriere in den 1930er Jahren grausam unterbrochen wurde, er aber die Schrecken überleben konnte. Kuratiert von seiner Enkelin Roxanne de Bastion, die - parallel zu ihrem Buch "The Piano Player Of Budepast" - mit diversen Musikern und dem Produzenten Simon Tong (Damon Albarn, The Verve) einen Schatz von Kassetten auswertete und die Stücke (teilweise auf Stephens Originalklavier in Berlin) liebevoll neu interpretierte. Entstanden ist ein zutiefst ergreifendes Album mit Stephens wundervoller Musik.

Seven years after its last LP, the Del McCoury Band returns to take on the challenge with Songs of Love and Life. A glorious 13-song collection, the album follows 2021’s celebrated release, Almost Proud, and once again features Del touching down on a diverse set of tracks--vintage and contemporary--as he and his crackerjack Band nod to icons Kenny Rogers, Roy Orbison, and Elvis Presley, as well as welcome next-generation talent, Molly Tuttle, to the party.

Produced by Del and his son, Ronnie, Songs of Love and Life showcases one of the greatest storytellers in music, delivering another rousing assembly of absorbing, compelling, and unforgettable tales.

Still, even among the pantheon of music’s finest artists, Del McCoury stands uniquely apart. From the nascent sound of bluegrass that charmed hardscrabble hillbilly honkytonks, rural schoolhouse stages, and the crowning glory of the Grand Ole Opry to the present-day culture-buzz of viral reels and digital streams, from Bill Monroe to Billy Strings, it is Del who’s the living link. And, like any genuine national treasure, the gifts keep coming.

With beauty and precision, Del and the boys bring home another endearing album of traditional bluegrass music. Brimming with hot licks, classic songcraft, and Del’s matchless vocal delivery, the Del McCoury Band and its latest, Songs of Love and Life, once again raise the gold-bar standard of bluegrass yet another notch. This is a baker’s dozen from a bushel; the best songs Del’s selected from the bounty to meet his latest challenge. “I get a big feeling of accomplishment when I get a new record out,” says the 85-year-old legend. “I never get tired of it.”"

Essex-based Nasty Rhythm is a raver from the good old days who turned his hand to making music a few years back during UKs lockdowns, causing a minor sensation on youtube after uploading his very first track. The raving spirit shines through brightly here, capturing the vibe of 1992 hardcore like lightning in a bottle on the 2 original A side tracks. Backed with pumped up remixes from The DJ Producer and Rognvald the whole EP provides a breakneck trip along the hardcore continuum.

Compassion combines ethereal pop with ‘80s synth textures, and slacker-rock charm. It's got a bit of Matthew E. White, chilled out BC Camplight and Conor Oberst.

The inviting and perceptive songs on Rui Gabriel’s debut LP Compassion all tackle growing up. It’s about how the older you get, your priorities shift, friendships evolve, and responsibilities become inescapable. For Gabriel, the Indiana-based, Venezuela-born artist and co-founder of the acclaimed band Lawn, the changes in his own life inspired him to write a solo full-length that sounds like nothing the indie rock journeyman has done before. Across 10 vibrant tracks that combine ethereal pop with slacker-rock and piano-driven dance music, it’s a galvanizing showcase of personal growth and the grace you give yourself to push forward.

Work on Compassion started in 2018 when Gabriel was living in New Orleans. “I was living a pretty teenage life in many ways,” says Gabriel. “I worked at a pizza restaurant and would just go to shows or parties. I wasn’t doing anything other than music. I didn't have many responsibilities.” The songs he was working on at the time—tracks that didn’t fit Lawn but Gabriel still liked—initially went unfinished. But as Gabriel’s life changed, so did his songwriting and his desire to see his ideas through. “When I was writing lyrics, I was settling down with my partner and about to become a dad,” says Gabriel. “I was making choices about my life that contradicted the existence I had before. I had a different set of priorities.”

The songs on Compassion deal with youthful carelessness ("Dreamy Boys") and coming face-to-face with newfound responsibilities ("Change Your Mind"). It's consistently a biting, observant look at getting older thanks to Gabriel's unique perspective as a South American immigrant who's lived across the United States for the past 13 years. “When you are Hispanic, English isn't your first language, and you're in a music scene with a bunch of white people, you're going to stand out a little bit,” he says. On “Church of Nashville,” “Hey, Leonard Cohen is singing poems by the gentrified alley” he humorously aims at scene pretension and industry gatekeepers.

Compared to Gabriel’s work with Lawn, where he writes frenetic post-punk songs and yells, for Compassion he explores more straightforward pop sensibilities and showcases his singing voice. “I wanted to do a solo record to prove to myself that I could sing,” says Gabriel. Take the meditative, piano-based lead single “Target,” which is inspired by Dido and finds Gabriel gorgeously harmonizing with singer Kate Teague. He reaches similar infectiousness on the sunny rocker “Summertime Tiger,” which guests Stef Chura. Co-produced by Gabriel and Nicholas Corson (The Convenience, Video Age), Compassion is consistently warm, generous, colorful, and adventurous.

“Compassion is a record about change,” says Gabriel. “It's a coming-of-age record but for somebody who's coming of age into their thirties.”

The three howler monkeys of NAG strike back with their new album “Boys Of Europe”. They debuted in 2016 as an exciting breath of basement-smelling air. Their moderately original alternative cement mix of the filthiest of punk, the truest of hardcore, and the evilest of metal was very well received. Then came gigs and tours around Europe before the second album was released in 2018, to raving reviews too, ofcourse. But then there was dead silence. For a long time. Now they’ve finally returned from obscurity with ten perfected and mighty NAG-tunes. Indeed, their hair has become greyer, and their backs hurt more, but there’s no way you can tell. They still sound like raging Norwegian teenagers. NAG has stayed true to their original ‘crust punk black metal’ formula, and the new album is as hard, fast and straightforward as anything they’ve done before.

Dr. Dog ist definitiv keine HipHop Band, Dr. Dog kommen aus Philadelphia und sie spielen eine sehr abwechslungsreiche Mischung aus 60er Jahre-Pop und Psychedelic Rock. Bevor Ihre Fanbase im Jahre 2004 richtig groß geworden ist, nachdem sie zusammen mit My Morning Jacket auf U.S.Tour gegangen sind, haben sie auf ihren eigenen Label 2 schöne Alben veröffentlicht - Psychedelic Swamp (2001) und Toothbrush (2002). Es folgte ein Deal mit Rough Trade Recs., 2 weitere, sehr gelungene Alben (Easy Beat und We All Belong, das es gar in die US Charts auf Platz 30 geschafft hat!) und Tourneen mit Clap Your Hands Say Yeah, Strokes, Raconteurs und auch mit The Black Keys. Nun bringen Dr. Dog auf Park The Van ihr neues Album mit dem Titel FATE heraus. Und dem Quintett ist es tatsächlich gelungen, auf diesem neuen Album eine Quintessenz der amerikanischen Popmusik heraus zu filtern: Songs wie Hang On oder Uncovering The Old tauchen tief in die amerikanische Seele und Mysterien des Lebens und der Liebe und bieten darüber musikalisch vielschichtige, bittersüße Reflexionen an. Dabei bewegt sich Dr. Dog auf den verschlungenen Wegen irgendwo zwischen The Band, Beach Boys und aktuellen Bands wie Spoon oder Guided By Voices.

San Francisco psych-pop legend announces new album, “La Fleur” out June 7th, 2024. Between outside musical projects, pushing past 50 years old and becoming a father for the first time, San Francisco psych-pop legend Kelley Stoltz has spent the past two years steadily writing and recording his 18th album, “La Fleur”. The dazzling 12 song collection will be released in June by Agitated in Europe/UK and Dandy Boy Records in the USA. “La Fleur'' finds Stoltz once again playing nearly all of the instruments on the album- though a new friendship with pop guru Jason Falkner has led to Falkner appearing on two songs, “Hide In A Song” and “Make Believer” respectively. There’s the requisite 60’s meets 80’s pop rock confections that Stoltz favors with a new focus on out front vocals and perhaps a bit shinier production. Pandemic era blues, politics and fatherhood are lyrical touchstones throughout. The album’s first single “Reni’s Car” is the jangle rock lead single based on an actual event of Kelley riding around Manchester in the Stone Roses drummer's car. The accompanying music video was shot (partially) on location. “About Time” marries Twin Peaks synths to Fleetwood Mac and Avalon era Roxy Music in a cautionary tale to Stoltz's young daughter. “Human Events” puts revolutionary prose to a Moody Blues strum that floats off into Osees territory …and do I hear a nod to Gershwin in there? During the 2010’s Kelley played live as a sideman with Rodriguez and Echo & the Bunnymen, as the 2020’s dawned he was invited to support Pavement on their big reunion tour. He’s also been heard playing drums live with Robyn Hitchcock as well as adding sitar to Hitchcock's last two albums. In 2022, Stoltz was championed with a live appearance on Marc Riley’s BBC6 show. As producer, he has recorded the new album by Brigid Dawson formerly of the Ohsees. In my ears, Stoltz rarely does any wrong, and these comparisons are only just that little fruit to get you curious- he is still one of a kind. An under the radar hero to a few, and still after all these great songs, deserving of more. Climb on the bandwagon - as ever it’s quite pleasing here. - GEORGE CLOUD San Francisco, CA 2024

San Francisco psych-pop legend announces new album, “La Fleur” out June 7th, 2024. Between outside musical projects, pushing past 50 years old and becoming a father for the first time, San Francisco psych-pop legend Kelley Stoltz has spent the past two years steadily writing and recording his 18th album, “La Fleur”. The dazzling 12 song collection will be released in June by Agitated in Europe/UK and Dandy Boy Records in the USA. “La Fleur'' finds Stoltz once again playing nearly all of the instruments on the album- though a new friendship with pop guru Jason Falkner has led to Falkner appearing on two songs, “Hide In A Song” and “Make Believer” respectively. There’s the requisite 60’s meets 80’s pop rock confections that Stoltz favors with a new focus on out front vocals and perhaps a bit shinier production. Pandemic era blues, politics and fatherhood are lyrical touchstones throughout. The album’s first single “Reni’s Car” is the jangle rock lead single based on an actual event of Kelley riding around Manchester in the Stone Roses drummer's car. The accompanying music video was shot (partially) on location. “About Time” marries Twin Peaks synths to Fleetwood Mac and Avalon era Roxy Music in a cautionary tale to Stoltz's young daughter. “Human Events” puts revolutionary prose to a Moody Blues strum that floats off into Osees territory …and do I hear a nod to Gershwin in there? During the 2010’s Kelley played live as a sideman with Rodriguez and Echo & the Bunnymen, as the 2020’s dawned he was invited to support Pavement on their big reunion tour. He’s also been heard playing drums live with Robyn Hitchcock as well as adding sitar to Hitchcock's last two albums. In 2022, Stoltz was championed with a live appearance on Marc Riley’s BBC6 show. As producer, he has recorded the new album by Brigid Dawson formerly of the Ohsees. In my ears, Stoltz rarely does any wrong, and these comparisons are only just that little fruit to get you curious- he is still one of a kind. An under the radar hero to a few, and still after all these great songs, deserving of more. Climb on the bandwagon - as ever it’s quite pleasing here. - GEORGE CLOUD San Francisco, CA 2024

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

Forest Law's debut album, "Zero," is a vibrant journey blending Balearic funk with urban Tropicalia, showcasing his adept guitar playing, old-school sampling, and UK- styled beats alongside his mellow yet sombre vocals. Recorded across eclectic locations from Icelandic fish net factories to a garden shed in Romford, this innovative release marks a new chapter for the multi-instrumentalist producer.

Released in collaboration with the UK home for jazz and electronic sounds, Total Refreshment Centre, Zero is Forest Law’s first release since his debut EP on Brownswood Recordings four years ago, marking a new and exciting chapter for the up-and-coming talent.

Crafted over seven years, "Zero" is deeply influenced by Law's experiences, from immersive stays in Porto where he delved into Portuguese music to an artist residency in a remote Icelandic fishing village. The album was finished, and recorded in his garden shed in Romford, East London. It’s a beautiful juxtaposition about a boy from Essex, who fell in love with international music, discovered the world, and then produced a musical treatise about his adventures from his shed.

Within the first few seconds of the opening song on Australian troubadour Peter Bibby's latest album, we get an unvarnished look at the man behind the music as he observes the late-night scene of a local watering hole with increasingly bleary eyes:"No one seems to want to talk to me / 'cuz I'm the arsehole, probably." Indeed, that lovable ambivalence is at the heart of Drama King, Bibby's fourth studio album for Spinning Top Records. The project was produced by first-time collaborator Dan Luscombe (The Drones, Amyl and the Sniffers) and mixed by White Denim's Josh Block a frequent collaborator with Leon Bridges. An artist who has been celebrated as inherently working-class and wholeheartedly independent, Bibby comes by this caution honestly, having cut his teeth in the rough-and-tumble underground rock scene centered around Perth's Hyde Park Hotel in Western Australia. Bibby's affable personality has gotten him plenty of mileage as a live act. He's toured the U.S. with Pond and performed at the infamous open mic night at Pappy and Harriet's in the California desert. He's also taken the stage at international festivals such as Laneway, Falls, All Points East, South by Southwest and South Africa's Rocking the Daisies while notching his fair share of rowdy headlining shows.

“Not a lot of people talk about the true origins of bluegrass music,” says Swamp Dogg, “but it came from Black people. The banjo, the washtub, all that stuff started with African Americans. We were playing it before it even had a name.” Blackgrass, Swamp Dogg’s remarkable new album, is no history lesson, though. Produced by Ryan Olson (Bon Iver, Poliça) andrecorded with an all-star band including Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan, the collection is a riotous blend of past and present, mixing the sacred and the profane in typical Swamp Dogg fashion as it blurs the lines between folk, roots, country, blues, and soul. The tracklist is an eclectic one—brand new originals and vintage Swamp Dogg classics sit side by side with reimaginings of ’70s R&B hits and timeless ’50s pop tunes—but the performances are thoroughly cohesive, filtering everything through a progressive Appalachian lens that nods to tradition without ever being bound by it. Special guests like Margo Price, Jenny Lewis, Justin Vernon, and The Cactus Blossoms all add to the excitement here, but it’s ultimately the 81-year-old Swamp Dogg’s delivery—sly and playful and full of genuine joy and ache—that steals the show. The result is a record that’s as reverent as it is raunchy, a collection that challenges conventional notions of genre and race while at the same time celebrating the music that helped make Swamp Dogg the beloved iconoclast he’s known as today.

1973 was an amazing year for the pop/rock duo Hall & Oates as they ushered their superstardom further with the incredible second album masterpiece Abandoned Luncheonette.

Produced by the great Arif Mardin, this nine-song album fused with classic Philly soul, rock and acoustic pop anthems delivered in a big way for the history making duo. Including the huge hit single "She's Gone," as well as the celebrated title track, Abandoned Lunchonette was a watershed album which has rewarded them with non-stop success for the past four decades.

Abandoned Luncheonette is the most commercially successful of the duo's Atlantic Records period; the album reached No. 33 on the Billboard Top LPs & Tapes chart. Twenty-nine years after its release, the album was certified platinum (over one million copies sold) by the Recording Industry Association of America (RIAA).

This top-notch Analogue Productions reissue is pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Released only eight months after his exhilarating debut, Bruce Springsteen's The Wild, the Innocent & the E Street Shuffle contains rousing dispatches from the boardwalk, the street, the beach, and the bedroom. It explodes with energy, dares to dream, teases with humour, crackles with tragedy, clings to hope, and overflows with discovery, youthfulness, and personality. It features an unforgettable cast of characters — corner boys, teenage hustlers, doomed lovers, jazz men, junk men, factory girls, fortune tellers, alley cats, pimps, escorts, and more — illuminated by vivid colour, breathtaking detail, and poetic action.

Musically, the heartfelt 1973 record is inhabited by sympathetic vignettes and cinematic arrangements steeped in rock 'n' roll, soul, jazz, and R&B. It finds the New Jersey native looking beyond the parameters of his preceding record and seeking to move on from environments he knows well (and chronicles here) by rushing headlong toward unknown territories, adventures, and people. Underpinned by the singer-guitarist's ambitious poetic enterprise and will to succeed, The Wild, the Innocent & the E Street Shuffle is the album on which Springsteen becomes the Boss.

Mastered on Mobile Fidelity's renowned mastering system, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP set is the definitive-sounding version of Springsteen's sophomore record. Benefitting from SuperVinyl’s nearly non-existent noise floor, superb groove definition, and dead-quiet surfaces, The Wild, the Innocent & the E Street Shuffle plays with a clarity, energy, presence, and openness that complement the expressiveness, dynamics, and scope of the seven restless songs that comprise a work Rolling Stone ranked the 345th Greatest Album of All Time.

Beyond the audiophile sonics that practically place you behind the console at 914 Sound Studios — listen to the separation between the instruments, natural decay of the notes, interplay within the widescreen soundstaging, and nothing-to-lose youthfulness of Springsteen’s voice — this reissue takes seriously this record’s influential merit by presenting it in packaging that underlines its status. Tucked in a beautiful slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. This reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with the invigorating set that busted Springsteen loose from the club circuit and landed him on the radio

Determined to liberate anyone within earshot and unafraid to come on strong, The Wild, the Innocent & the E Street Shuffle serves as the debut of the E Street Band — not only heard but seen for the first time by most of the public courtesy of the back-cover photograph. This is where saxophonist Clarence Clemons, organist-accordionist Danny Federici, and pianist David Sancious step out of the shadows — and drummer Vini Lopez and bassist Garry Tallent again stoke a fiery rhythmic engine that helps drive the untamed, reimagined big-band swing of “Kitty’s Back,” breathless R&B thrust of “Rosalita (Come Out Tonight),” and carefree dance steps of the funky “The E Street Shuffle.”

Of course, the main attraction remains a then-24-year-old visionary on the precipice of becoming a sensation and turning a then-bloated rock scene on its head. Recorded over three months while Springsteen and company were busy touring his debut LP, The Wild, the Innocent & the E Street Shuffle reflects the high-octane approach the vocalist embraced onstage and drifts away from the label-dictated acoustic-based frameworks of his debut. The set also witnesses Springsteen deepening his observational skills, with narratives such as the romantically tinged “4th of July, Asbury Park (Sandy)” and redemptive epic “Incident on 57th Street” mirroring changes taking place in the singer’s own life, small towns, and America at large.

A thrilling collision of memories, reflections, and composites — Sandy, Rosalita, and the latter’s parents are all based on actual people Springsteen knew, as is the community depicted in the opening track — the aptly titled The Wild, the Innocent & the E Street Shuffle resonates decades on due to its truths, authenticity, and spirit. Those characteristics — as well as the fact that many of its lengthy songs come on as the equivalent of sweaty, feverish soul revue that won’t stop until you’ve been exhausted — also explain how this now-iconic album triumphed over the reservations of industry “experts” that both demanded Springsteen re-record it and instructed deejays not to play it.



Yet there’d be no stopping a record that saw the past, present, and future, a band whose will would not be denied, and a phenomenon who was born to run. A never-ending invitation to act real cool and stay up all night, The Wild, the Innocent & the E Street Shuffle always feels alright.

Gemma Blackshaw is a scholar, writer and curator currently Senior Tutor for research at the Royal College of Art. She has curated major exhibitions for galleries and museums in London (National Gallery; Wellcome Collection and Vienna (Leopold Museum; Wien Museum).
This is her debut album.

Who Will You Love is the debut collaborative album from The Dengie Hundred with Gemma Blackshaw. In 2023, The Dengie Hundred co-produced with Japan Blues two albums for Demdike Stare’s DDS label, and released the solo album Tube on London’s Sagome imprint; their solo debut Brackenbank appeared on Ethbo in 2022, when they also contributed to World of Echo’s Thorn Valley compilation. Here, they collaborate with Gemma Blackshaw on an album of smudged dream pop.

Gemma’s vocals were recorded from home at night on an old iPhone. Who Will You Love surfaces dark, desiring songs on the passion and exhaustion of looking after others. Emerging in simple rounds that expand with layers of field recordings, synths and drum machines, the songs include lullabies for baby boys and men, enchantments of wary lovers and spells of protection for a daughter.

Moving between her children and her lover, the mother sings of the demands of daily intimacy (play with me, carry me, sing to me…) that echo through adult relationships too.

Who Will You Love was mastered by Carim Clasmann, and mastered and cut for vinyl by Stefan Betke (aka Pole). Artist Alexis-Soul-Gray gifted Screen Memory of 2022, a painting on found paper, for the artwork. Mark Thomson designed the sleev

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

Attention, Electro-heads! SNC Recs is back with its first vinyl release for 2024, presenting a treat for all breakbeat enthusiasts with Friedrich Ernst's Breakthrough EP. The old-school influenced 12’’ is garnished by two high-grade remixes contributed by none other than the new-wave electro pioneers, DJ MELL G and Viikatory.

Hailing from Dresden, Friedrich Ernst discovered his passion for electronic music at an early age. After relocating to Leipzig in 2020, he co-founded the label "Self Learning System" with DJ Unisex, focusing on releasing electro music and organizing events. Since then, Friedrich has honed his own style and established himself internationally as a label owner and producer, increasingly focusing on live performances.

His second solo EP, marked by his detail-oriented and uncompromising electro sound, fits perfectly into the SNC Recs catalog and brings a dignified start to the tenth series. Completing the release are remixes by DJ MELL G and Viikatory, each bringing their own personal touch to a different track.

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about? Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title. Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets. Marty - This one's for Toad really. It was his call and it's a great title for a Moped album. Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it. It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one? Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums. Slimy - Toads are slow moving creatures. Marty - Because we're old and very very lazy. Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round? Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!) Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright. Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can. Robot - Yeah it's always fun making a Moped record. Johnny's totally at home in the studio environment...and the pub across the road. Give him the lyrics, he takes hold and delivers the goods in one take. There are some brilliant songs on the new LP. Can you tell us what 'Oh Jane' is about? Johnny - Jane is a traveller on that song, nothing to do with an ex-girlfriend of the same name! Slimy - That's about Johnny's love life. Marty - Over to you Rob.. Robot - Johnny wrote it about his love affair with a certain TV starlet who spends most of her time cruising around the world. I'll give you a clue - it ain't Susan Calman! 'Things May Happen' is being released as a single. What inspired you to write that song? Johnny - I did not write 'Things may happen', that is a Slimy Toad song; but I did not have a problem with it being released as a single. Slimy - The extraordinary lightness of being ... just the path and what's on it. Marty - This is Toad's one and it's a cracker! Robot - I think it's about the possibility of London buses running on time, or Crystal Palace winning a trophy. Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view? Johnny - Yes it was a gig at the 229 club to remember for all the right reasons, it was a blinder of a gig. Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that. Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's birthday it was the best vibe of all the gigs for certain for me. Robot - Yeah I think it was up there with the Koko gig a few years back, great sound and a great crowd, yeah one of the best. This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades? Johnny - Not much was happening with the band gigwise. we were in hiatus between 2006 up to 2016 when we were getting gig bookings thick and fast, including mini-German tours and three dates in Norway and one in Sweden. Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class. Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all. Robot - I don't recall any low points...being in the band is one long high. You'll be back out on the road this summer. Any message for fans who'll be coming to see you? Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats! Marty - Be afraid. Be very afraid! Robot - Enjoy the show...things may happen!

It's the one all the massive have been waiting for! Part 2 of the Salford sage - DJ Absolutely Shit's 'Memoirs Of A Crust Monster'. More hyped up tear outs, soundsystem ruffage, and bass 'n breaks love songs from our Hell's Angel-dodging beat freak.

Kicking things off with glowing neons and super-charged subs is 'Higher', a modern jungle monster decorated with classic hip-hop samples and a well known diva vox squealing through the melee.
A serious 'watch your bassbins' track - RL HQ have safety tested this on the most robust car stereo systems and so far have yet to avoid any cabinet damage - proceed with caution!

'Lost In Space' rolls outta the speaker stacks with a b-boy swagger and loose breaks. A tribute to classic breakdance electro galvanized with Ab Shit's intricate trademark production chops. You'll want to crack out your finest red Puma classics and a slick tracksuit for this one.

Onto 'Out On Love' and between you and me, someone needs to call the social service for samples - as it's unlikely you'll ever witness a more blatant case of sample molestation. Squeezing every last drop out of a catchy piano lick, TV snippet and drum break; the track really does highlight the unrivaled programming prowess of our Irlam renegade who's taken SP1000 trickery to its absolute zenith.

'Money Talks' sees our cheeky ragamuffin dictate a life affirming sunrise over Pomona - pre-gentrification of course; a thousand smiles and memories of old Mancunia shimmering in the early morning industrial haze. And an abject slight at those who put profits above people - another poignant ode to our changing cityscape driven by the most addictive boogie-based groove and clattering Linn drums.

Spine-tingles and fanny flutters guaranteed ALL DAY on this one cru!
Look out for the full 16 track album due on C90 cassette and digi download coming very soon...

RL x

Celebrating a decade of hip-hop excellence with the 10th Anniversary Vinyl Reissue of Statik Selektah's groundbreaking album, Extended Play. Pressed onto high-quality vinyl and housed in a silver laminated jacket, this limited edition reissue pays homage to the timeless collaboration between the legendary producer and some of the finest wordsmiths in the game.

Extended Play showcases the essence of authentic hip-hop, seamlessly blending old-school vibes with innovative production. Featuring an all-star lineup of rap luminaries, including Action Bronson, Mac Miller, Joey Bada$$, Sean Price, Raekwon, Black Thought, Prodigy, Evidence, Termanology, Posdnous of De La Soul and Talib Kweli amongs several others, this album is a masterclass in lyrical prowess and beatsmithing finesse.

Immerse yourself in the artistry of Statik Selektah as he crafts intricate beats that serve as the canvas for the lyrical dexterity of hip-hop's finest. Each track is a testament to the genre's evolution, capturing the essence of both its roots and its future. From the gritty realism of Sean Price's verses to the introspective musings of Mac Miller, every moment on this album is a revelation.

This commemorative vinyl reissue not only offers listeners a chance to experience the album in its purest form but also provides a glimpse into the collaborative spirit that defines hip-hop culture. The album cover artwork has been meticulously restored and printed onto a silver laminated jacket. Join us in celebrating the legacy of Extended Play and the everlasting impact of Statik Selektah's musical vision!

Handpicked by Paul himself, Will of The People is a carefully curated collection of 31 tracks from Weller’s extensive cornucopia of tunes that never quite made it to one of his 9 studio albums since 2002. Here is a collection which reminds us that there has always been a parallel narrative to the main recorded output of Paul’s albums and singles. The B-Side, and the remix, is a space in which to explore, experiment, or to flex a different set of artistic muscles.
The story begins back in the autumn of 2003, when the Fly On The Wall 3LP & 3CD collection brought together a wealth of Paul Weller solo recordings that stretched back to 1991. The B-sides, 12” EP tracks, single remixes and ‘live’ recordings featured all had one thing in common, namely that they hadn’t been included on any of his hugely successful solo albums. Furthermore, in many instances, they’d become highly sought after in their original formats and were fetching significant sums from fans and collectors. Will Of The People follows up Fly On The Wall and takes the listener through a similar mix of rarities, this time spanning the period 2002 to 2021.
From covers to eclectic remixes, Will Of The People delivers a scintillating array of songs which skirt across many genres. Here you will find such gems as Paul’s cover of The Beatle’s “Birthday”, released to celebrate Macca’s 70th, and the sparkling disco-ball banger remix of Cosmic Fringes by none other than the Pet Shop Boys. It also includes Paul’s first foray into film soundtracks with the sublime “Ballad Of Jimmy McCabe” from the film Jawbone. Scattered across the tracks are appearances from the likes of Primal Scream, Simon Tong & Graham Coxon.
Will Of The People is released on triple vinyl and 3CD. The album features sleeve notes written by writer and broadcaster John Wilson.

Ice Cream Vinyl

Since the release of their debut studio album Do Hollywood (on 4AD) in 2016, The Lemon Twigs_the New York City rock band fronted by brothers Brian (27) and Michael D'Addario (25)_have waved the same revivalist torch as Alex Chilton and his Big Star crew, working to prove that archaic music from the `60s and `70s can still be relevant in digital world. Alongside peers like Foxygen and Drugdealer, The Lemon Twigs have explicitly documented a synchronistic blend of contemporary narrative motifs, old-school recording techniques, and flawless, consistent attitudes collaged from various crucial stages of rock 'n' roll. After a whirlwind 2023, the D'Addarios are continuing the momentum of their own evolving vision and voice, distilling a history lesson of baroque and power pop into A Dream Is All We Know (out May 3 on Captured Tracks). Garnering the top-to-bottom critical acclaim the brothers have long deserved, their 2023 LP Everything Harmony was spearheaded by an impressive string of singles, including "Corner Of My Eye" and "Any Time of Day." It was the kind of record that put all of Brian and Michael's talents on display, be it the former's multi-instrumentalist gifts or the latter's boyish, explosive pop-rock charisma and eye for engineering and vocal layering. But A Dream Is All We Know is not the acoustic, nylon string-based project that Everything Harmony was. Instead, it's a return to the form the Lemon Twigs first introduced on Do Hollywood_an electric guitar-centric, anthemic assemblage of, really, everything the band does great. These two companion records are an immediate example of a band capitalizing on their fire-in-the-belly appetite to make tunes that boast ubiquitous chemistry. A Dream Is All We Know is grandiose yet grounded; meticulous, yet wild and glowing. Made with analog precision, the album was finished in the immediate months after the band completed Everything Harmony during a vibrant, prolific period split between three studios on separate coasts. A Dream Is All We Know is a profoundly dense and charged album, rife with string arrangements and a sonic thesis statement that has quaked through phases of glam, conceptualism, baroque, and Mustang-loud, stone-cold rock `n' roll for more than half-a-century. A Dream Is All We Know sounds like it's lived a thousand lives already.

Limited edition silver vinyl anniversary reissue of the Magnetic Fields' classic 1999 rumination on, of course, love. Funny, smart, dark, memorable, and a lifetime's worth of listening. Stephin Merritt solidifies his songwriting genius on his "most ambitious and fully realized work". (AMG) This vinyl reissue is remastered for vinyl and beautifully packaged in a 10" slipcase box with three double gatefold sleeves and a 24 page booklet!

On a cold December's night, we packed the Paradiso in Amsterdam, ending our tour in glorious fashion. This night felt like a homecoming show, marking my seventh time headlining the "pop temple". The "creme de la crème" line up included one of my oldest friends Marnix. Slider returned on keys for this tour, having been a crucial member of our musical family for years. We brought out the big guns for these shows, having a crazy variety of classic keys on stage. These included an electric grand, clavinet, multiple synths and multiple electric pianos. Needless to say, the stage was pretty full! Willem being the powerhouse he is, raised the bar as usual. An amazing drummer and an amazing singer! Last but not least, returning to Paradiso with Xander felt incredible. Him and I have been doing this even before I descended down to earth and became Jett Rebel. All of us are friends and being on stage with these people is a privilege and a blessing. You'll be able to hear the crowd's excitement in the way we play. My primary goal was to make it feel like you were actually there. I live for this...

Nach ihrem im Jahr 2022 erschienenen Album “Midnights“ veröffentlicht Taylor Swift mit „The Tortured Poets Department“ jetzt ihr 11tes Studioalbum. Bereits im letzten Jahr hat sie die Neuaufnahmen (Taylor’s Version) ihrer Alben „Speak Now“ und „1989“ mit ihren Fans geteilt. Die 14-fache Grammy-Gewinnerin hat ihr neues Album "The Tortured Poets Department" angekündigt, während sie bei der Grammy-Verleihung den Preis für das beste Pop-Gesangsalbum entgegennahm. Sie bezeichnet das Album “The Tortured Poets Department“ als ihren “Rettungsanker“, der sie daran erinnert hat, warum das Songwriting für sie so wichtig ist. Swift arbeitet seit über zwei Jahren an dem Album, in dem sie ihre einzigartigen Fähigkeiten zum Songwriting und Storytelling unter Beweis stellt. Sie sagte selbst über das Album während ihrer Show in Melbourne: "I've never had an album where I needed songwriting more than I needed it on 'Tortured Poets." Das Album besteht aus 16 Tracks + Bonus Track “The Manuscript” und ist erhältlich als CD und Ivory Doppelvinyl.

Afro-Cuban star Daymé Arocena has announced her new album 'Al-Kemi' which will be released on February 23 via Brownswood Recordings. It is her first album since 'Sonocardiogram' in 2019.



Dayme's new single "American Boy" accompanies her album announcement. No other song on the album embodies Arocena’s artistic liberation like “American Boy” - an exhilarating, futuristic slice of progressive pop. “I wrote it ten years ago, but thought it was too much of a pop song,” Dayme reflects. “In an indirect way, the music industry had shown me that I wasn’t welcome in that world. There isn’t a Black woman like me who enjoys the kind of success usually reserved for Rosalía or KAROL G. The image of music genres like salsa or bachata has been painfully distorted throughout the years. You are supposed to clone and fuse yourself in order to conceal your Black or indigenous side. They told me I didn’t fit in that world, but I’m going to prove them wrong.”



When Daymé decided to switch gears and record her fourth studio album in Puerto Rico with the iconic producer Eduardo Cabra (Calle 13), she never imagined that she would end up moving there.



“From the moment I stepped foot on the island, I realized that I never wanted to leave,” says the 31 year-old Cuban singer/songwriter with a hearty laugh. “At the time, I had spent three years away from Cuba, living in Canada with my husband. I called and asked him to come over to Puerto Rico, and to please bring all my stuff. It wasn’t a conscious decision on my part. It was simply love at first sight.”



Relying on instinct and intuition is how Daymé has managed her career since she burst on the international scene with 'Nueva Era,' her prodigious debut album, in 2015. Now, she has fully reinvented her sound with 'Al-Kemi,' a revolutionary – and transformative – fusion of neo soul singing, Afro-Caribbean beats and slick new millennium pop.



The album is titled 'Al-Kemi' with the Yoruba word for alchemy. "It means the cosmovision of transformation," she explains. "It is mixing all the elements to achieve an unbeatable result, full of shine and light, like gold springing from the skin."



From the cosmopolitan smoothness of lead single “Suave y Pegao” – an effortless fusion of jazz, bossa nova and urbano stylings with reggaeton star Rafa Pabön on guest vocals – to the smoldering neo-soul of “A Fuego Lento,” with Dominican singer Vicente García, Daymé’s latest album relies on sacred formats of the past but rearranges them in a conscious quest to redraw the very definition of what Latin pop is supposed to sound like.



“It was definitely a team effort,” she reflects from her new home in San Juan. “Flexibility may well be my biggest virtue. I’m always open to every possible suggestion when it comes to making things better. My piano player, Jorge Luis "Yoyi" Lagarza, and I worked on the demos with the rest of my band. Then with Eduardo Cabra’s direction, we enlisted musicians from all over the Caribbean – Cuba, Puerto Rico, the Dominican Republic. Everybody added their energy and coloring.”



It was Daymé’s piano player who originally suggested she contact Eduardo Cabra known for combining commercial aptitude with a refined sense of craftsmanship. Not only did Cabra accept the singer’s offer, but he also invited her to stay at his home during the four months when they recorded 'Al-Kemi' in his Puerto Rico studio.



“I had no idea that he was familiar with my music,” she enthuses. “Eduardo has been in the industry for a long time, and he comes from a world that is more global and commercial than mine. He was the ideal candidate for this project, but I initially didn’t know if he would understand the social, psychological and personal complexities of the message that I wanted to express.”



“Daymé is one of the most talented musicians that I’ve ever worked with,” says Cabra. “Working together was a joy, because she knew exactly the kind of fusion that she was going for: a cross between her Afro-Cuban roots – which clearly are strong on this album – with the more contemporary vein of analogue synths, samples and a bit of electronica. We wanted both worlds to communicate, to be both respectful and disrespectful to the ancestral colors. I feel comfortable with both, and even Calle 13 walked the two paths. This is also the album where Daymé opened up to the Caribbean at large. Her understanding of harmony and her performance skills are out of this world.”



Born in Havana in 1992, Daymé grew up immersed in Afro-Cuban folk, but also listening to cassette tapes of Sade Adu, her father’s favorite singer. She was identified as a prodigious



talent at only 8 years old and soon started studying music. After studying at the prestigious Amadeo Roldán conservatory, she became co-founder and band member of the Cuban-Canadian jazz collective Maqueque in 2017. With the collective, she launched several international tours and earned a GRAMMY nomination.



“In Cuba, the emphasis on technique is exacerbated,” Daymé explains. "At the same time, opportunities are scarce on the island. A career in music provides a potential for escape, which is why the competitiveness is off the charts.”

The complete original album Money Jungle (United Artists UAS 15017), which was the only trio collaboration of Duke Ellington with Charles Mingus and Max Roach. Both youngsters greatly admired Duke. Ellington himself briefly featured Roach in his band during the early 1950s, and expressed on multiple occasions his appreciation for Mingus' compositions. Most of the repertoire here was especially composed for the date, while the only old tunes they recorded were "Warm Valley", "Caravan", and "Solitude". 180-GRAM COLORED BLUE VINYL - THE COMPLETE ALBUM - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE

If blue is the color of sadness, or the best color to reach authenticity, R.Y.F. – the project of the Italian singer-songwriter and musician Francesca Morello, based in Ravenna – goes even further with the new album Deep Dark Blue. Deep Dark Blue is an underwater album, maybe it is even a deep-sea album. The sound is dark and muffled, as if we were in a sort of cradle, a blue bubble, a sea cocoon in which to wrap ourself ves to regenerate and achieve peace, but whose casing also conveys energy. Born following a dazzling baptism in the mesmerizing sea of Stromboli, in Sicily, Deep Dark Blue is an album of suffering and healing which confirms R.Y.F.‘s destabilizing power. According to her: ”Sometimes I experience moments of great suffering, in the last two years caused by my wife’s health problems. I was “broken inside” and I didn’t know if I would be able to go back to the way I was before. Deep Dark Blue tells how I felt and how I would like to rebuild myself. I still talk about the freedom to love, but I also felt the need to talk about suffering, and I tried to do all this with irony, in the most joyful way possible. And it worked. That’s why this is also a healing album”. In Deep Dark Blue there are also some important guests, underlining R.Y.F.’s rise in her international career. They are Moor Mother, Skin (Skunk Anansie) and Alos (aka Stefania Pedretti, formerly OvO and Allun), united by feminism, queerness and political activism, to get precious artistic affinities stronger in these hard times of new repression that we are experiencing. Deep Dark Blue arose from software and analog instruments and was then developed with Maurizio “Icio” Baggio (The Soft Moon, Boy Harsher), who also took care of recording, production, mixing and mastering at the music studio La Distilleria in Bassano del Grappa. Matteo Vallicelli (The Soft Moon, Death Index) participated in the production of some tracks. Although it flows with compact fluidity, the album highlights R.Y.F.‘s mastery in expressing herself through different stylistic genres. There is a dark electro-punk common thread, but there are also blackness (Run Run Run), alt-metal guitars on dance house structures (Can I Can U feat. Skin), industrial doom (Deep Dark feat. Alos) and other experiments (the instrumental interludes Droplets and Sirene). The variety of sounds corresponds to a spontaneous variety of topics. The theme of suffering opens and closes the tracklist with Blue and Deep Dark feat. Alos, almost as if to represent a first contact with the water and the culmination reaching the bottom of the abyss, and is approached both with a smile on the lips in the sexy Lies and from a more authorial perspective in the heartfelt Violent Hopes and December 25th, the first songs on the album to have been written. Deep Dark Blue by R.Y.F. is an immersion from which you emerge different from your old self, some kind of magical creature in a new form, but it is first of all an electric shock from which one is violently happy to be struck.

Repress!

It's five years since we first released Yosi Horikawa's 'Vapor' album. To commemorate the occassion, we're releasing the album on vinyl for the very first time, also including a previously unreleased bonus track, 'Yoggo'.

The devil is in the details. And Yosi Horikawa understands this perhaps better than most musicians from his generation, crafting compositions with broad appeal that also withstand the most intricate scrutiny. Originality has always been a rare currency in the creative arts, and having honed his voice over the years Yosi has plenty of it to give to those willing to listen.

The RBMA graduate has collaborated with artists such as Jesse Boykins III, Dorian Concept & Daisuke Tanabe, performed at Glastonbury, Sónar, Mutek, Dimensions, Low End Theory, Ninja Tune's Solid Steel & Boiler Room, featured in Time Out Tokyo, XLR8R, Dummy & more, and received acclaim and support from the likes of Benji B, Tom Ravenscroft, Fulgeance, DJ Food and Gilles Peterson, with whom he has worked with on several projects since the release of 'Vapor', for Brownswood, Worldwide Festival & Worldwide FM respectively, producing a regular feature, 'Soundscape with Yosi Horikawa'.

Besides writing and producing music, Yosi is a highly skilled sound engineer, working with prestigious architects, fashion brands, and technology firms as well as designing speakers for bars and clubs. He's also composed numerous jingles and theme songs for radio stations to science exhibitions. Such is his diversity and originality, he was the subject of an RBMA film documentary in 2014, 'Layered Memories'.

Following his debut EP on Eklektik Records, two EPs were released on First Word prior to this, his debut album, 'Vapor'. 17 tracks from the Japanese sound designer and producer that weave together diverse field recordings and sample sources, with rhythms and melodies, creating something that defies stylistic boxing. Echoes of dance music, hip hop and musique concrete can all be found amid the sounds of nature and everyday life that underpin the grooves of the music. 'Vapor' is an album in the old-fashioned sense, a tightly-woven sonic journey that benefits from repeat listens.

'Vapor' was named amongst 2013 Albums of the Year lists in Fact Magazine and The Japan Times.

"A sonic masterpiece and an entirely new pathway in to the matrix of emerging electronic creativity. Every piece on the album sounds boundless and full of texture & colour imaginable"

Earmilk: "A serendipitous mishmash of electronic, hip hop beats, and a litany of genres that fall in that spectrum with a liberal dose of acoustic magic

Senegalese singer Youssou N'Dour, once described by Rolling Stone as ""perhaps the most famous singer alive in Senegal and much of Africa"" and ranked 69th on the magazine's list of the greatest singers of all time. It is easy to say that Youssou N'Dour is an icon. ""The Guide (Wommat)"" is his most successful work commercially. The duet with Neneh Cherry, ""7 Seconds"", is still one of the most successful and important protest songs of the 20th century. The Guide (Wommat) is for the first time available as a 2LP-set. The album is available as a limited edition of 1500 individually numbered copies on yellow, red & orange marbled vinyl and includes an insert.

The Guide (wommat) by Youssou N Dour, released 19 April 2024, includes the following tracks: "Without A Smile (Same) ", "7 Seconds (Duet with Neneh Cherry)", "Generations (Diamono)" and more.

This version of The Guide (wommat) comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a yellow disc. Another vinyl is pressed as a marble, red & orange disc.