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Wewantsounds is delighted to reissue Sylvia Robinson's super rare soul LP released in 1975 on her Vibration label, part of her All-Platinum/Stang/Turbo empire. A few years later, she would bring hip hop to the international stage producing "Rapper's Delight" in 1979 and "The Message" in 1982. "Sweet Stuff" features several Sylvia cult classics including "Private Performance," "Soul Je T'aime", a cover of Serge Gainsbourg's "Je T'aime Moi Non Plus" and the mellow favourite "Sho Nuff Boogie" recorded with The Moments. As bonus tracks, the release features "Sho Nuff Boogie, Part 2" which only came out as the single's b-side at the time and the long version of "Soul Je T'aime", all packaged in the album's original artwork.

Born and raised in New York, Sylvia Robinson began recording at a young age under the name "Little Sylvia" in the early 1950s. She gained exposure when she teamed up with Mickey Baker scoring a hit in 1956 with "Love Is Strange" as Mickey & Sylvia. She went on to record many singles during the late 50s and 60s before setting up her own label, All Platinum Records in 1966 followed by Stang Records and Vibration. Through these labels, she had several hit records in the 70s as a producer including The Moments' "Love On A Two Way Street" and Shirley & Co's "Shame Shame Shame". ​

Sylvia Robinson continued to record as a solo artist shortening her name as 'Sylvia'. She got a massive hit of her own with "Pillow Talk" in 1973, a song she'd originally penned with Al Green in mind. The song went to nr 3 in the charts and started a string of other hits over the next few years. In 1973 she covered Serge Gainsbourg's 1969 megahit "Je T'aime Moi Non Plus" renaming it here "Soul Je T'aime" and duetting with Fania Records' Latin soul singer Ralfi Pagan. ​

The following year was also busy for the singer and producer with three singles that went to the R&B chart: the Soul Ballad "Alfredo", the Funky "Private Performance" and "Sho Nuff Boogie," sung with The Moments. They are all featured on the album "Sweet Stuff" which was released in 1975. Interestingly the song "Sweet Stuff" notoriously sampled by J Dilla for "Crushin'" doesn't appear on this album even if "Sho Nuff Boogie" sounds very much like a forerunner of the song with its similar languorous pace and almost identical melody. "Sweet Stuff" is packed with other tasty soul songs including "I Can't Help It", "The Notion" and "Love Is The Only Thing."

Four years later in 1979, Sylvia Robinson would make another genius move with the launch of Sugarhill Records and the Sugarhill Gang's single "Rapper's Delight" but that's another chapter of Sylvia Robinson's life. Wewantsounds is delighted to reissue one of her rarest albums from her best 70s period for the first time in decades and make it available on vinyl.

Welcome to a new exciting chapter in the Four Flies 45s series, which brings to DJs, producers and music lovers all over the world a collection of super-groovy themes from the finest Italian soundtracks, issued on 7-inch vinyl for the very first time. This release presents the two funkiest tunes from the soundtrack to Gianni Proia's Mondo di Notte Oggi, a 1976 Mondo movie whose score was composed, arranged and produced by Gianni Oddi and Gianni Dell'Orso. While Oddi had several successful albums under his belt, either as writer or arranger, Gianni Dell'Orso, one of the most versatile producers of his time and the brother of multi-talented maestro Giacomo Dell'Orso (the husband of Morricone's favourite singer, Edda), had worked in a wide variety of genres, from prog rock to library music.

Side A contains the afro-funk classic "Soul Meeting", a vibrant, infectious and psychedelic piece driven by percussion and flute. Side B features the equally irresistible "Teenager", an afro-influenced funk track with a soulful brass section and wah wah guitar, used in the soundtrack as a sort of background music but, in fact, released a couple of years before as part of Oddi's album "Oddi 4".

A must-have for any DJ and collector, this exclusive 7-inch comes in a limited edition of 350 copies. Don't wait and grab yours before it's too late!

Lynda Dawn and XL Middleton collaborate on boogie 7" 'Roses' for Extra Soul Perception.

London soul singer Lynda Dawn returns with her first release since being tipped by The Guardian as one of their 'Ones To Watch' in 2021.

Following her participation in the first ESP writing camp in Nairobi 2019, 'Roses' was originally released on 'New Tangents…Vol. 1' EP alongside four other tracks with artists from the UK, Kenya and Uganda.

As part of the label's commitment to international collaboration, 'Roses' 7" brings two artists together for the first time, united by their love for boogie. To accompany the original, Lynda collaborated remotely with L.A. producer and record shop owner XL Middleton for an up-tempo flip, mixing g-funk and 90s RnB.

The 'Roses' 7" is Extra Soul Perception's second release of 2021, following on from 'Bad Meditation', the debut album from former Electric Wire Hustle frontman Mara TK.

a a1: Roses (7" Version) feat. BesKept

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

Composer, multi-instrumentalist, poet, griot, improviser and community
leader William Parker presents a pair of brand new trio albums which
further expound on his limitless vision.
One of the iconic and enduring music leaders to emerge in the world over the
last half century, William Parker continues to raise the bar higher.
‘Painters Winter’ features the trio of Daniel Carter (reeds, trumpet, flute) William Parker (bass, trombonium, shakuhachi) and Hamid Drake (drums). Carter
& Parker have been perpetual space-ways traveling companions since first
meeting & immediately beginning to channel music together in early 1970s
NYC. Here, Carter again brings the full assembly of instruments he has for decades been a master of: trumpet, alto & tenor saxophones, clarinet and flute.
Likewise, Hamid Drake is a musician’s musician; one of the most in-demand
drummers in the world. He is in command of a vast lexicon of drum languages,
learned and absorbed directly. His frequent flyer miles could get him a ticket to Saturn and back. Drake & Parker launched their devoted “two-man big
band” partnership in 2000 and haven’t stopped since. In trio with Daniel Carter,
they’ve created one previous album together, ‘Painters Spring’, released that
same year.
Drake has made mention of his awe that William could pick up any new instrument and make beautiful music with it from jump. The title track of ‘Painters
Winter’ features Parker on trombonium, one of those many instruments that
he plays beautifully on. The track “Painted Scarf” features Parker on shakuhachi, upon which he has clearly become a master.
William Parker: bass, trombonium, shakuhachi
Daniel Carter: trumpet, alto & tenor saxophones, clarinet, flute
Hamid Drake: drums

The Dandara: Trials of Fear Edition Original Soundtrack features over one hour of ethereal, surreal and organic music created specifically for the exploration of the Salt's surreal world. Blending eclectic electronic scores with sweeping, melodious soundscapes, Thommaz Kauffmann's score is like taking a ride into a new, wonderous land.

Dandara's light but incredibly strong presence was the starting point for all the sound presented in this album, consisting of a soundtrack that sounds hopeful and melancholic at the same time. Her lonely journey into the corrupted regions of Salt narrates each gesture made to fight the fears deep inside the Salt's most uncharted caves.

The textures and musical aesthetics in this soundtrack match a world that suffers from its abandonment to spontaneity, creativity, and vitality. It is with the presence of Dandara that there is a break in these standards imposed in Salt by an authoritarian regime.

Wrapped up in a beautiful, sturdy tip-on gatefold with a rough, black and white aesthetic, this vinyl 2xLP comes with two "Salt" white 180g in two printed inner sleeves.

Composed, produced and mixed by Thommaz Kauffmann

Artwork by Luísa Almeida

Game developed by Long Hat House

Published by Raw Fury

Repress

From Another Mind continues to establish itself as an essential label with a fantastic fifth
release entitled 'Die Augen Des Teufels' from label bosses SHDW & Obscure Shape.

Marco Bläsi and Luigi Urban are main room techno talents who make no bones about the size of their
sound. Classic techno, rave, EBM and acid all colour their grooves. In 2016 Groove Magazine chose
them as Newcomer of the Year', while they have also released their 'Himmel Und Erde EP' on the
mighty Rekids, as well as remixing the boss's anthemic 'Grindhouse' in recent months. Two years later,
the duo now follow up 'Die Weiße Rose' - their last original release on From Another Mind - with four
tracks that reflect the pair's trademark versatility as producers and the sound they play as DJs.

Things open in monstrous fashion with the brilliant 'Die Augen Des Teufels.' Built on tightly
programmed and unrelenting drums, it has a hypnotic synth line riding about the scales that locks in
your mind while your feet march to the beat. Frazzled synths and icy hi hats add to the pressure and
ensure this one makes a devastating effect. 'Wächter Der Nacht' is equally forceful, with hammering
kick drums and minimal driving percussion joined by a brain frying acid lead synth line that will blow up
any DJ set.

The flip maintains the release's rave-spirit whilst taking things into a more melodic direction. Keeping
up the high class pressure is 'Die Prophezeiung', which has hulking kicks leaning into a stiff wind as
hugely texted synths rumble up top to bring real rawness and impact. This one stays relatively stripped
back and builds atmosphere throughout before closer 'Verlorene Seelen' picks things up again with
quick and slick drums, nimble chords and an irresistible sense of techno force that cannot fail to carry
you away.

In 2020, 4AD turned 40. Never one to be on time for a party, the label is
commemorating that landmark this year with the release of ‘Bills & Aches & Blues’.
The compilation features 18 of its current artists covering a song of their
choosing from 4AD’s past: a creative experiment rooted in the spirit of
collaboration and a snapshot of 4AD, 41 years after its inception.
‘Bills & Aches & Blues’ will be released on double CD and double LP. The
first 12 months’ profits from ‘Bills & Aches & Blues’ will be donated to The
Harmony Project, a Los Angeles-based after-school programme for children
from communities and schools that lack equitable access to studying the arts
or music.
‘Bills & Aches & Blues’’ 18 recordings contain fascinating connections
between artist and track. The earliest song chosen (by U.S. Girls) is The
Birthday Party’s ‘Junkyard’, from 1981; the most recent are the two Grimes
covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning)
from 2012. Suitably, for the one band that bridges 4AD past and present, The
Breeders are all over ‘Bills And Aches And Blues. They’re covered three
times - ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of
Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt
Eaters’ by their ‘90s contemporaries His Name Is Alive.
Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’
‘Where is My Mind?’ will feel comfortable to casual fans, however by
contrast, much joy can be found in the album’s surprise choices, such as Air
Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by
new signings Maria Somerville and Jenny Hval.
‘Bills & Aches & Blues’ is named, arguably (as Elizabeth Fraser never
published the lyrics), after the opening line of Cocteau Twins ‘CherryColoured Funk’. Perhaps too unique and uncoverable in their own right, their
legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This
Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs
SOHN’s cover.
Some tracks unearth hitherto hidden shared DNA, such as Future Islands’
and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to
reinvention. Aldous Harding distils the melodic essence of Deerhunter’s
‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco
‘Junkyard’ and Bing & Ruth’s neo-classical instrumental ‘Gigantic’ are even
more radical interpretations. Leading off the album, Tkay Maidza brings both
her Art Rap and R&B game, but also an unexpected ‘80s synth pop template,
to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times.

180g vinyl 2LP set in deluxe gatefold sleeve with iconic pictures by jazz
photographer Francis Wolff. Originally released as The Jazz Messengers at
the Caf Bohemia Vol.1 (Blue Note BLP 1507 and BLP 1508.
One of the definitive bands of the hard bop genre, The Jazz Messengers’ soulful and hard driving sound set the benchmark of excellence in jazz. The present
set, recorded live at the celebrated Caf Bohemia in New York, was one of the
best from their early years.
This music originally appeared divided into two 12” volumes, whose contents
are included in their entireties on this 2-LP set.
“There’s excellent, cohesive trumpet by Kenny Dorham and piano by Horace
Silver that leaps into the emotions. Doug Watkins is equal to the never-coasting
rhythmic demands of Silver and the omni-cooking Art Blakey.”

Shall Not Fade champions its hometown of Bristol for this next release on the Time Is Now White Label series; Daffy has built a name for himself on the local scene putting out forward-thinking garage on labels to watch like Dim Sum Records and Equal People. This will be his first full vinyl EP and it's not one to miss.

Run Around EP builds up the tension throughout; starting off with "Put Your Feet Up", a ghostly atmospheric piece with a sparse beat, sprinkling of ear candy and crescendo of headsy melodies. The title track oozes a growling bassline beneath staccato vocal snatches - it's a deconstructed style of garage that maintains tension while adding a dreamlike quality. More tension encompasses "Nerves" alongside teases of low end wobbles and harsh breaks that coalesce into a punishing jungle track.

"Lost Again" brings in the B-side with this same energy, an explosion of rolling breaks forming the backbone of this rouch and ready Metalheadz style crowd pleaser, calling out to the rave. "Mishap" serves up ragga vocals, impenetrable sub bass and pouncing two-step ripe for a reload, all rounded off with "Wasp's Nest" - a raucous, no holds barred climax to the EP.

In January 2019, at the invitation of fiddler Hans Kjorstad, Alasdair
Roberts travelled from his home in Glasgow, Scotland to Oslo,
Norway, where the two men convened with five additional
Scandinavian musicians at Riksscenen, Oslo’s centre for
Norwegian traditional arts and music. Thus newly-formed, the
group worked on arrangements of songs - self-written and
traditional - from Alasdair’s back catalogue, in preparation for
performances at Riksscenen as well as at ALICE in Copenhagen,
Denmark and the bucolic western Danish island of Fanø. The
group was named Völvur (The Seeresses), a reference to the
ancient Icelandic apocalyptic text Völuspa (The Prophecy of the
Seeress).
In January 2020, Völvur visited England and Scotland, to perform
with Alasdair Roberts at Cecil Sharp House, London and at
Platform, Glasgow, the latter as part of Celtic Connections festival.
The group had new material - freshly written songs by Alasdair
and several traditional Norwegian songs sung by Marthe Lea - and
over a couple days at Sam and Rachel’s Studio in Hackney, laid
down the music which now flows forth as ‘The Old Fabled River’.
The musicians who make up Völvur - Marthe Lea, saxophone,
clarinet and voice, Fredrik Rasten, guitars and voice, Andreas
Hoem Røysum, clarinet, Egil Kalman, bass and electronics, Jan
Martin Gismervik, drums, percussion and the aforementioned
initiator of the project, Hans Kjorstad on fiddle - are a busy and
artistically inquisitive group, involved in a diverse range of projects
with a wide variety of musical interests, from folk and jazz to free
music, modular synthesis, microtonality and beyond. They make
an ideal pairing for such voyages in the alchemical world as
Alasdair pursues in his own music.
On ‘The Old Fabled River’, Alasdair Roberts og Völvur meld their
worlds: fiddle and vocal styles formed in the Norwegian valleys
blending now with exploratory clarinet, saxophone and metallic
bowed guitar drones, now fashioned into baroque folk
arrangements. In one case, instrumental accompaniment is laid
aside, as three voices locate a questing fullness harmonizing
together.

Soul Jazz Records’ CD / LP (plus digital download code)
reissue of this very rare album, first released as a private-press
LP in 1978 on flautist Lloyd McNeill’s own Baobab Record label
in Washington, DC. The album has been out-of-print for 43
years and is lovingly remastered by Soul Jazz Records.
‘Tori’ is a stunning album that blends Brazilian and Latin flavours
with deep Spiritual Jazz. The album features a strong line up
which includes legendary Brazilian figures like Dom Um Romao,
Nana Vasconcelos and Dom Salvador alongside jazz
heavyweights such as Buster Williams, Howard Johnson, John
La Barbera and more. These A-team musicians were all
regulars in McNeill’s long-running and highly successful resident
live group in New York, all set up to blend deep jazz, Brazilian
and Latin music together.
Lloyd McNeill is an African-American flautist, painter, poet, and
photographer born in Washington, D.C. in 1935. His multidisciplinary creative life led to encounters and friendships with
Nina Simone, Picasso, Eric Dolphy, Nana Vasconceles and
other legendary cultural figures.
Lloyd McNeill’s hypnotic ‘Washington Suite’ was originally
commissioned as a piece of music for the Capital Ballet
Company, in Washington DC.
McNeill grew up through the era of the Civil Rights Movement in
the 1960s and his life and work is a reflection of those ideals. In
the mid-1960s he moved to France where he became friends
with Picasso, working with a number of émigré-jazz musicians
whilst living in Paris. In the late 1960s he taught jazz and
painting workshops at the New Thing Art and Architecture
Center in Washington. In the 1970s he travelled throughout
Brazil and West Africa studying music and taught music
anthropology in the US.

In celebration of the 20th Anniversary of the release of
legendary singer / guitarist Thalia Zedek’s ‘Been Here
and Gone’, Thrill Jockey are proud to present the
album on vinyl for the very first time, remastered by
Sarah Register.
Thalia Zedek has been one of the most enduring rock
musicians of the past four decades. From her
auspicious beginnings in bands Uzi, Live Skull and
Dangerous Birds to her wider recognition in Come,
Zedek established herself as a singular voice accruing
accolades from critics and contemporaries including J.
Mascis, Kurt Cobain and Bob Mould.
‘Been Here and Gone’, her debut solo release,
originally released on Matador in 2001 on CD, marked
a turning point in Zedek’s music. As Come were
coming to a close, Zedek began exploring writing and
performing as a solo artist, eventually backed by violist
David Curry, pianist Mel Lederman (both went on to
perform with Zedek for two decades), as well as former
Come bandmates Chris Brokaw and Daniel Coughlin.
The idiosyncrasies of her voice were laid bare for the
first time, revealing an even greater depth to her
unique songwriting. The more spacious and rich
arrangements sprawl and whisper with powerful
vulnerability.
Deluxe packaging featuring photos of the recording
session on the inner sleeve. Includes digital download
card.

In celebration of the 20th anniversary of the release legendary singer/ guitarist Thalia Zedek's Been Here and Gone, Thrill Jockey is proud to present the album unlike it has ever been heard before: on vinyl, re-mastered by Sarah Register. Thalia Zedek has been one of the most enduring rock musicians of the past four decades. From her auspicious beginnings in bands Uzi, Live Skull, and Dangerous Birds to her wider recognition in Come, Zedek established herself as a singular voice accruing accolades from critics and contemporaries including J. Mascis, Kurt Cobain, and Bob Mould. Been Here and Gone, her debut solo release originally released on Matador in 2001 on CD, marked a turning point in Zedek's music. As Come was coming to a close, Zedek began exploring writing and performing as a solo artist, eventually backed by violist David Curry, pianist Mel Lederman (both of which went on to perform with Zedek for two decades), as well as former Come bandmates Chris Brokaw and Daniel Coughlin. The idiosyncrasies of her voice were laid bare for the first time, revealing an even greater depth to her unique songwriting. The more spacious and rich arrangements sprawl and whisper with powerful vulnerability. "There was definitely something magical about the making of Been Here and Gone," says Zedek. "I'm not sure if it was because it was made at a studio called Higher Power in a recently desanctified church in Stuyvesant, NY, or if it was because it was the end of a century, not to mention a millennium, the end of a decade of being in Come, the longest running band I'd had up to that point, and the end of 5 years of unhappy breakups and tumultuous relationships in my personal life." The eleven tracks that comprise Been Here and Gone embody that tension of uncertainty with a hopeful edge of renewal. Zedek's indelible resilience lifts even the somberest laments into triumphs. Even on the album's three cover tunes, including a haunting rendition of Leonard Cohen's "Dance Me to the End of Love," Zedek's voice and guitar color every note with raw emotion, making each passing gesture personal. Been Here and Gone channels the thunder and roar of Zedek's past into a fragile magnificence.

"Since its beginnings in Jamaica in 1959, the story of the pioneering Island Records label has been inextricably linked to the story of its founder, Chris Blackwell. Now, Blackwell has curated a series of compilation LPs featuring his hand-picked tracks that correspond with his and Island’s legendary history.
On July 23, Island Records / UMC will release Volume Two of The Vinyl Series, a nine-track album covering the years 1969 to 1973. Volume One, which included pivotal songs from 1962 to 1969, will also be available, and Volume Three will follow later this year. Taken together, the set explores the wide-ranging highlights from Island’s remarkable and extensive catalog. "

Emerging from an era of intense personal and collective change, Capstan
perfect their patented one-two punch of elite musicianship, battering ram
rhythms, off-kilter fret fireworks, and high-octane chantable choruses.
After amassing over 20 million-plus streams, the Florida five-piece Anthony DeMario vocals, Joe Mabry guitar, Harrison Bormann [guitar], Andrew “Bozz”
Bozymowski [bass, vocals], and Scott Fisher [drums] unleash a focused and furious firestorm of bop-level anthems on their second full-length offering, SEPARATE

Libby Weitnauer’s first solo release is a contemporary exploration of two
traditional ballads.
One tells of a fierce fight against a male attacker, the other of heartbreak and
abandonment. Together with producer Mike Robinson, Weitnauer creates a
new soundscape for the tales and trials of women told in old songs.
This 45rpm 7” vinyl allows the listener to hear the stories unfold in their living
rooms much like they have been told for centuries.

"His desperate need for a torrent, a precipice, a railroad track - no matter what, but instantly - made him appeal for the very last time to the topography of his past. And when, in front of him, a grinding whine came from behind the hump of the side street, swelling to full growth when it had overcome the grade, distending the night, already illuminating the descent with two ovals of yellowish light, about to hurtle downward - then, as if it were a dance, as if the ripple of that dance had carried him to stage centre, under this growing, grinning, megathundering mass, his partner in a crashing cracovienne, this thundering iron thing, this instantaneous cinema of dismemberment - that's it, drag me under, tear at my frailty - I'm travelling flattened, on my smacked-down face - hey, you're spinning me, don't rip me to pieces - you're shredding me, I've had enough...Zigzag gymnastics of lightning, spectogram of a thunderbolt's split seconds - and the film of life had burst." One-time vinyl pressing (no digital). Recommended for fans of Werkbund, Main, General Elektro, Heith, Experimental Audio Research.

From the vaults of Ring Musik, one of Germany's finest library record labels, comes this dope double sider. Even better, the A-Side ("Sally") has not been re-issued since it's original release in 1976! We have no clue why none of the established re-issue record labels in the world has not re-released it yet. Therefore we gladly step in and take responsibility for a proper reissue. For the B-side we chose "Bubble and Squeak" which makes it unnecessary to further search for the original vinyl record as these are the only two interesting cuts for Rare Groove fans.

Cromby debuts on Phantasy alongside vocalist Tee Amara with a luminous new single, ‘Qué Sientes’. An emergent anthem overflowing with the energy that has come to define the Belfast producer’s ascent as one of the most versatile talents in club culture, ‘Qué Sientes’ is contemporary electro brimming with character, skilfully remixed by Ecuadorian underground favourite, Nicola Cruz.

Raw in dancefloor intent, ‘Qué Sientes’ erupts with no hesitation atop Dance Mania-indebted drums, blending Tee Amara’s Spanish-language vocal performance with a seductive acid squelch. Written and recorded in Berlin during lockdown, ‘Qué Sientes’ is the meeting of two friends and lifelong dancefloor enthusiasts from across the world, fluid rave sensuality rendered ideal for Cromby’s already legendary closing sets at Panorama Bar, or any other high-voltage dancefloor.

Complementing the Latin flavour of Cromby’s original production, French-Ecuadorian cult favourite Nicola Cruz applies his precision percussion and further cosmological atmospheres to ‘Qué Sientes’. Adeeply trippy take, Cruz’s result is late-night house psychedelia rendered both mechanical and mystical.

Lloyd Altamont Thomas Robinson recorded many songs as a singer first for Studio One in 1963 and later for many labels and Jamaican producers including Duke Reid,

Lloyd Daley, Sir JJ and more. Robinson was part of the duo Lloyd and Devon, whom had quite a few good songs under their belt including a hit for Derrick Morgan's Hop label,

"Red Bum Ball.". With Glen Brown, under the name Lloyd & Glen, he wrote and recorded many outstanding Rocksteady & early Reggae tracks, some quite heavily influenced by

Black Soul including the two sublime tracks featured here. He went on to record the big dancehall hit “Cuss Cuss” in 1984 on the Harry J. label.


Glenmore Lloyd Brown, began his career as a vocalist in Sonny Bradshaw’s jazz group before recording duets with Hopeton Lewis, Dave Barker, and Lloyd Robinson.

Later, Brown became the founder and owner of the Reggae/Dub labels Pantomine and South East Music. A sought after producer he worked with many with many

Reggae greats including U Roy, Gregory Isaacs, Big Youth, I-Roy, Prince Jazzbo, Johnny Clarke, Lloyd Parks, and Little Roy.

The heavy rhythms of his Dub productions resulted in his being known as "The rhythm master".



As “Lloyd & Glen”, they composed, sang and recorded together about 15 tracks, ranging from Ska to Rocksteady to Soul on a variety of labels between 1966 and 1968.



Most of these songs are outstanding, many are just sublime with a strong American Soul influence.

"The Shape Of Jazz To Come" - Ornette Coleman (as); Don Cherry (crt); Charlie Haden (b); Billy Higgins (dr)

It was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – "The Shape Of Jazz To Come". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers ("Eventuality", "Chronology") remind one of wildly hyped-up bebop. Other numbers ("Congeniality", "Focus On Sanity") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: "Peace" and "Lonely Woman", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: »A record, which is not unjustifiably so entitled« about this LP which was given 5 stars by the magazine Rolling Stone.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe

Production: Nesuhi Ertegun

Makèz have come a long way since they first sneaked into Amsterdam’s studio 80 at the age of 17 to hand over their demos to Dam Swindle. Those demos led to their debut EP ‘Different planets’ on Heist in 2019 which gained major support from artists like Seth Troxler and Chez Damier. Quickly after, they signed two records on New York based label Let’s Play House. Fast forward two years, and here we are: the release of their debut album “City of all”.

"City of all” shows an admirable level of sophistication and matureness and effortlessly bridges genres across its 13 tracks. You can feel the amount of thought that has been put into this record, with songs happily blending into each other as Makèz submerge themselves in their concept of accidental encounters, inclusiveness and what it means to live in a city like Amsterdam.

On “City of all”, Makèz bring together all the musical influences they’ve picked up in their life as music fans, clubbers and art students. The jazz-funk of opening track “The entrance” feels breezy, casual almost, like the freeform rhythms that are played in a jazz club during soundcheck. That energy also oozes from “Not so different”, which features the smooth vocals of LYMA. There’s a hint of the house-meets-R’n B vibe that made Anderson .Paak the star that he is now. The song is brilliantly funky and shows the songwriting and arrangement talent of Makèz, who cleverly use pop & soul cues to create one of the album’s highlights.

What follows is 4 cuts ranging from the syncopated Balearic funk of “Orbit”, the strings of album title track “City of all”, the organ-led jam “Gonna getya" and the downbeat “Sonder”. Allysha Joy -best known for performing in Melbourne Hip Hop collective 30/70 - is featured on the deep and jazzy cut “Looking up”. If Makèz and Allysha are all looking up, it’s clear they’re seeing the same thing. These kindred spirits perfectly complement each other on this track, where the deep bass, warm harmonies and jazzy percussion prove to be a perfect foundation for Allysha’s rhymes.

Is it an album all about jazz and soulful tracks to listen to at home? Far from that. There’s a nice bit of dance floor-oriented tracks, where the distorted filter funk of “Roselane” featuring Fouk proves to be a highlight along with what is arguably the heaviest cut of the album: “Bent with funk”.

In an EP context, these house tracks would surely do their work, but they really come to life in this album format. No compromise has been made to storytelling and the house tracks all play their part while still standing their ground as powerful club tracks. It’s the expert production and smart arrangement that gives this album its casually funky feel. On “City of all”, Makèz showcase their remarkable talent for writing an album that goes to so many different places, but most of all, just really feels like home.

Enjoy the music,
Maarten & Lars

Muse celebrate the twentieth anniversary of ‘Origin Of Symmetry’ by releasing ‘Origin Of Symmetry: XX Anniversary RemiXX’ on Warner Records. The new edition features remixed and remastered audio plus re-imagined artwork and will be released on digital formats on June 18th before two vinyl packages follow on July 9th.



As the album’s anniversary approached, Muse asked the Grammy-winning producer Rich Costey, who has produced or mixed material on almost every subsequent record, to revisit the original recordings. Whereas most remix albums aim to radically rework the material, or to switch to an entirely different genre, the band and Costey wanted to provide a renewed clarity with a more open, dynamic and less crushed sound. This highlights parts and ideas previously buried or muted on the original mixes, like a harpsichord on ‘Micro Cuts’ and Abbey Road recorded strings on ‘Citizen Erased’, ‘Megalomania’ and ’Space Dementia’.



And that’s precisely what has been achieved. From the visceral opening riff of ‘New Born’ to the cinematic melancholy of the closing ‘Megalomania’ via the staggering scope of fan favourite ‘Citizen Erased’, the remix unveils every facet of the album’s intricate production alongside a new-found warmth. It further benefits from mastering courtesy of Alex Wharton at Abbey Road Studios.



Matt Bellamy said:



"In revisiting the album what we found was the original mixes on the singles, like ‘Plug In Baby’ and ‘Bliss’, were pretty good so they were the hardest ones to improve. It was the deeper album tracks like ‘Micro Cuts’ where we were able to make massive breakthroughs."



The ‘XX Anniversary RemiXX’ also adds ‘Futurism’ to the tracklist. Originally a bonus track on the album’s Japanese edition and subsequently tagged to the end of the album on streaming services, ‘Futurism’ now adds a burst of energy to bridge the gap between ‘Feeling Good’ and ‘Megalomania’. This reflects its placing on the 2019 box set ‘Origin of Muse’.



‘Origin of Symmetry: XX Anniversary RemiXX’ is completed with a modernised reimagination of the album’s cover art courtesy of Sujin Kim. The visual artist has created a hyper-realistic 3D rendering of William Eager’s original cover image.



‘Origin of Symmetry: XX Anniversary RemiXX’ is now available to pre-order, with ‘Citizen Erased’ provided as an instant download. A limited edition exclusive 140 gram coloured double-vinyl set is available from the band’s official store. A striking package and a must-have item for collectors, it features LP1 on translucent sun yellow vinyl and LP2 on translucent orange vinyl. It will also be released on double black vinyl and digital formats. Both versions of the vinyl feature an unorthodox detail: the sides are marked M, U, S and E rather than the standard format

Tashan, we believe is one of the greatest soul singers of modern times who first became known as a solo artist for his debut album 'Chasin A Dream' on Def Jam in 1986. There wasn't many better released soul albums in the 1980s. Tashan released was his 'Life Goez On' album in 2002. This album was only ever released on CD. We are releasing in partnership with Tashan two songs from the album in 'This Could Be' and 'After Hours.'

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

Tonnon produced the album with longtime collaborator, and The Beths’ guitarist and producer, Jonathan Pearce. Tonnon wrote the bulk of the songs during an extensive period of touring after the release of Successor - a period where Tonnon performed with Nadia Reid in Europe, The Veils in the USA, and The Chills, The Phoenix Foundation and Don McGlashan in New Zealand. The pair workshopped songs between tours, often recording new parts as the live versions developed.

Tonnon and Pearce recorded between 2017 and 2020, and in that time, Tonnon’s practise evolved heavily. He incorporated new technology into his set, including the Wellington-designed Synthstrom Deluge, which allowed him to adapt his set for new performance environments;Art Galleries, Museums, even New Zealand Fashion Week. He took that technology further when he collaborated with the Otago Museum on the immersive show for Planetariums, A Synthesized Universe, which travelled to Arts Festivals around New Zealand in 2019.

Creating a music video for ‘Old Images,’ which explored a lost passenger train network, Tonnon came to the idea for a new experience-based show called Rail Land. It took audiences on railways to reach distant community halls around Aotearoa. The show saw Tonnon combine historical research and spoken word narrative, with the immersive lighting and musical technology he developed for A Synthesized Universe. In March, Rail Land finished a three-night run at Auckland Arts Festival, cementing Tonnon’s move to the concept show.

Over time, Tonnon and Pearce’s production moved further from the traditional rhythm sections that powered songs like Successor’s ‘Water Underground.’ In their place came off kilter electronic rhythms, like the beat in ‘Two Free Hands,’ and textures that blur lines between organic and synthesized sound. Guitars are set against synthesizers, and drums against drum machines in ‘Entertainment’ and ‘Peacetime Orders,’ which Tonnon also used in his soundtrack for RNZ’s 80s spy-themed podcast The Service. In ‘Leave Love Out Of This,’ a ballad starts with a piano and a string quartet, but ends in a wall of electronic sound.

The constant has been Tonnon’s lyrics. Whether singing about evolution and the future of work in ‘Two Free Hands,’ the television industry in ‘Entertainment,’ or environmental disaster and regulatory failure in ‘Mataura Paper Mill,’ Tonnon has followed a distinct approach to subject matter, description and phrasing that have seen him longlisted for the APRA Silver Scroll three times.

Tonnon’s explorations of local government and civic infrastructure in his work - an unusual preoccupation for a songwriter, have taken new meaning in his adopted home of Whanganui, where last year, he was elected by councillors as Whanganui District Council’s representative for public transport.

After Tonnon moved to Whanganui, and Pearce toured almost constantly after the success of The Beths’ first album, the pair conducted their collaboration over distance, but with key sessions at Pearce’s Karangahape Road studio, including drums and bass with long time band members Stuart Harwood and David Flyger, a string quartet led by Charmian Keay and arranged by Matthew Bodman, and additional drums with The Beths’ Tristan Deck.

As Leave Love Out Of This is released, Tonnon and Pearce find themselves in very different places to where they started, working on Auckland’s Karangahape Road, close to the venues like Wine Cellar and Whammy Bar where they regularly performed. Back in New Zealand since Covid, Pearce has had to adjust to being in one of Aotearoa’s best-known bands, while Tonnon, when not working on conceptual shows, wrestles with how to restore civic infrastructure to a post industrial city in the regions.

Created over a life-altering period of, Leave Love Out Of This is the culmination of years of experimentation and development - with new technology, new sounds, and new ways of creating, and performing music.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca Records
to become the first Artist signed to the new Geffen Records label, with “The Wanderer” being the first
album released on the label.
• Legendary producers Giorgio Moroder and Pete Bellotte remained at the helm.
• With the US #3 hit of the title track and other standout tracks ‘Looking Up’, ‘Cold Love’, ‘Who Do You Think
You’re Foolin’’ and ‘Nightlife’, “The Wanderer” continued Donna’s creative output.
• “The Wanderer” was released the year after the ‘Disco Demolition Night’ event - which was held,
ironically, two days before ‘Bad Girls’ became a US #1 single - and introduced more rock-infused
dance/pop tunes – which paved the way for many Artists throughout the 1980s.
• Donna received two Grammy Award nominations. Best Rock Vocal Performance, Female for ‘Cold Love’
and Best Inspirational Performance for ‘I Believe In Jesus’.
• In 2020, “The Wanderer” had a resurge in interest and a re-appraisal, with several tracks being remixed for
a new generation, resulting in a one month stop at #1 on one of the UK’s top Soul radio stations.
• This special edition revisits the original album on 180g White Colour vinyl

Limited Edition Classic LPs - 180g Virgin Vinyl -Audiophile Pressing Gerry Mulligan, Baritone Sax; Thelonious Monk, Piano; Wilbur Ware, Bass; Shadow Wilson, drums. New York, August 1957. Produced by Orrin Keepnews. Thelonious Monk was a creator in the true sense of the word. The current LP includes one of his rare albums that could fit within the standard formula of “jazz star 1 meets jazz star 2”. The pianist seldom shared the bill with other stars or accepted playing second fiddle to anyone. Two rare exceptions include his two 1950 sides backing singer Frankie Passions (“Especially to You” and “Nobody Knows”), and his 1950 studio session backing Charlie Parker and Dizzy Gillespie. But Monk is the leader on most of his recordings, and in a way, he was also the leading voice on this meeting with Gerry Mulligan. Most of the tunes played here are compositions by Monk, with the exception of the standard “Sweet and Lovely” - a favourite of Monk’s, who recorded it dozens of times - and Charlie Shavers’ “Undecided”, which could well have been Gerry’s only call for the evening. Although it remains clearly recognizable, the latter tune was slightly modified here, retitled “Decidedly” and attributed to Mulligan himself. No other recording of “Undecided” by Monk is known to exist. “’Round Midnight” was a Mulligan request for the session, as he wanted to record the song with its composer. It is clearly one of the best tracks of the whole album. However, the fact that no new compositions by Monk were recorded on this date seems to indicate that Monk always preferred to make his own albums and didn’t dedicate too much time to such experiments as Mulligan Meets Monk, which he may have regarded as a “commercial” venture. 4.5 Stars - Down Beat “The minutes of this meeting are very interesting indeed. They begin with a lyrical “’Round Midnight” and continue through Monk’s brittle “I Mean You”. In between, there are stretches of good to excellent Mulligan, brilliant Ware, and good to excellent Monk.” (Dom Cerulli)







g b4 | Straight, No Chaser [Alternate Version]

Album Description BROS VOL 2 takes you on a technicolor journey via your ear drums. The eclectic flavours of VOL1 are taken to new heights. The musical scope is wider, and the worldly sonics more exotic. The power pop refrains sink their hooks deeper, the sly musical jokes sell out harder and the hard charging grooves really pack a wallop. BROS make music that is fun and colourful, the way it's supposed to be. Bio After boldly displaying their full musical range on the 2016 debut album Vol. 1, BROS—aka The Sheepdogs’ Ewan and Shamus Currie—return with Vol. 2, an endlessly surprising new 13-track collection that’s something akin to a party thrown by your friends with the best record collection. Recorded over a two-year span with producer/engineer Thomas D’Arcy in Toronto, BROS sought to expand their scope on Vol. 2 by inviting a host of collaborators, from a horn section and tabla drummer, to Sheepdogs guitarist Jimmy Bowskill (on a range of instruments he doesn’t normally play) and even their father Neil Currie on piano. The results contain something for everyone, from the Tropicalia-inspired “Sunflower” and the smooth jazz of “Clams Casino,” to the lowdown funk of “Never Gonna Stop” and the vintage AM radio homages “Crazy Schemes” and “You Love This Song.” With Vol. 2, the combination of visually evocative instrumentals and finely crafted Pop and Soul nuggets is now undeniably BROS’ trademark sound, one that’s utterly distinct from The Sheepdogs’ arena-ready, guitar-fuelled rock. As a pure studio creation, the album not only displays the Curries’ dynamic creative bond, but also their playful sense of humour and easy-going relationship, something that can’t often be said of fraternal musical partnerships. So as we all wait patiently to return to bars and concert halls, BROS Vol. 2 is here to provide the perfect soundtrack for whatever you happen to get up to within your bubble, just as long as the intention is to have some fun. For Fans of: The Sheepdogs, Dan Auerbach, The Doobie Brothers, The Allman Brothers Band, Eric Clapton, The Band, The Black Crowes

New pressing, with a front punch of color! It’s the yellow belt edition!
(yellow vinyl)Take an auditory trip through a wacky world of oddball and obscure ‘classick’ exploitation cinema soundtracks from the 1960s and early 1970s, presented by one of the most beloved genre film video companies of all time’ Something Weird! Two LPs chock-full of oddities and earworms with great sets of liners and track by track factoids!

"Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing." - LA Times Since their first moment it seems like they've been as electric as their name suggests. Lightning Bolt, their first album, captures that energy in a raw form. Famously lo-fi, this is the album that's been described as most feeling like being at one of their shows. It's difficult to listen and not want to jump with the crowd it feels like must be huddled around the amp producing an incredible wave of noise, astonishingly coming from just two musicians. You can hear the threads of their later work; use of repetition, a sense of grinding and building, noise melting to guitar solos. This album is loud, and the riffs repeated become mesmerizing as they warp slowly thru the songs. Long saught after, this record has not been available new on vinyl since it's first pressing. This edition includes songs which have never before been released on vinyl. A must have for any Lightning Bolt fan, or really anyone who loves noise.

Hitting number two in the UK album chart and with over a billion streams, in Dissimulation KSI creates space for both his public persona and the personal: big hit features with the likes of Rick Ross and Lil Baby (Down Like That) and AJ Tracey (Tides) sit alongside more intimate, honest tracks. No stranger to defying expectations, Dissimulation received critical acclaim. Clash labelled it “an excellent body of work”; “he’s absolutely smashed it” proclaimed Metro.

It’s no surprise that KSI has been seen on the cover of The Sunday Times Magazine and Music Week; The Observer Magazine, Viper and Notion. Other labels and artists want a piece of the KSI pie too: just look to the success of his features on S1mba’s Loose and Nathan Dawe’s BRIT nominated Lighter. 



With his second album on the horizon, a 2021 tour which sold out in seconds, the launch of his own label and a single with Craig David (Really Love), Anne-Marie (Don’t Play) and YUNGBLUD (Patience), KSI is proving that music is very much his domain. 



KSI brings with him the unrelenting work ethic and infectious energy which YouTube instilled in him. Despite his debut’s success, he’s certain Dissimulation just scratched the surface: the next record, he’s clear, will showcase his artistry’s further progression again. Given FAULT Magazine described KSI as “one of 2019’s biggest success stories - “an emergent hip-hop star” said The i - all eyes will be on his follow up. KSI’s task - writes The Observer - is “not just to make “YouTube rap” but the real thing”. Their verdict? “Mission accomplished.”

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca
Records to become the first Artist signed to the new Geffen Records label.
• Donna’s ‘80s close-out album was 1989’s “ANOTHER PLACE AND TIME”, which paired her with multihit making, multi-million-selling UK producers Stock Aitken Waterman.
• The album’s lead single ‘This Time I Know It’s For Real’ was an uplifting, club floorfiller and radiofriendly hit, peaking at #3 in the UK (#7 on the US Billboard Hot 100), giving Donna her highest
charting single for more than a decade.
• Four further singles were released from the album including the two Top 20 hits, ‘I Don’t Wanna Get
Hurt’ and ‘Love’s About To Change My Heart’, giving Donna back-to-back UK Top 10 hits for the first
time since 1977, as well as remixed versions of ‘When Love Takes Over You’ and ‘Breakaway’.
• “ANOTHER PLACE AND TIME” spent 28 weeks on the UK Artist Albums Chart.
• This special edition revisits the original album on 180g Red Colour vinyl.

A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson character,” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.

Old 97s are an American alternative country rock band from Dallas, TX, fronted by lead vocalist and primary songwriter, Rhett Miller. Formed in 1993, they have since released twelve studio albums, two full EPs, and have one live album. Starting out as a popular bar band before being spotted by Bloodshed Records, they are pioneers of the alt-country movement during the mid-to-late 90s. Their Bloodshot debut LP brought them to the attention of Elektra Records, who hoped that alt-country could be a new post-grunge trend.

In 2005, Blender magazine ranked the band’s then most successful single, 1999’s “Murder (Or a Heart Attack),” as the 176th greatest song “since you were born.” Their music has been featured in a number of film and TV series, including The Break Up, Clay Pigeons, Slither, Ned’s Declassified School Survival Guide, Ed, Scrubs, Veronica Mars and Scorpion. Old 97s recorded three albums for Elektra, before moving on to New West and ATO Records subsequently.

Their fourth studio album, Fight Songs was recorded at Kingsway in New Orleans and released on April 27, 1999. The album is more-slick and pop-oriented than their previous efforts. For the release of this deluxe worldwide debut on vinyl, ROG had six-time Grammy® award-winning producer and engineer, Vance Powell, remix the 12-track album as the band originally intended; stripping off the slick 1990s-style production and sheen that helped the album get on the radio in 1999. With the assistance from the band we are also able to offer previously unreleased 1998 pre-production demos on a 3rd LP that helps to round out the complete story of this classic 1990’s alternative country record.

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Frank Sinatra & Count Basie Sinatra Basie + 2 Bonus Tracks (Orange Vinyl) “Sinatra had long since mastered the microphone, which had become his instrument, capable of a full-on roar or a whisper so intimate it seemed to be spoken inside the listener’s head. Tackling things like “Nice Work If You Can Get It” and “I Won’t Dance” took him back to a kind of repertoire he had mastered
two decades before. The youthful sheen hadn’t quite left the voice and age hadn’t yet darkened it. Basie wasn’t the greatest sight-reader and may not have played on all the tracks, but his band knew the score and Sinatra-Basie remains a collaboration of great strength and naturalness.” Penguin Guide to Jazz “The following decade would see his comeback to stardom, and Sinatra-Basie remains one of the highlights of that period. In this summit meeting, the iconic sonority of Basie’s orchestra is sublimated by Neal Hefti’s arrangements, while Sinatra, impeccable from start to finish, draws from the prodigious energy of the horns, strings and drums of this triumphant big band a simply irresistible elegance.” Jazz Magazine

One of the beautiful qualities of the Bellingham music community was the fact that many different groups of various genres could coexist and even perform comfortably throughout the half-dozen venues in this little Northwest college town in the most northwest corner of the most northwest state in the lower 48.

The original roots soulfunk juggernaut of Joel Ricci's "The Lucky Seven" known in their town as "The Leaders of the Funk Revolution," attracted a certain cadre of party goer, as did Dan Lowinger's rugged rockabilly quartet "The Foot Stompin' Trio". At Footstompin gigs, Lowinger would be found deftly chicken pickin' that honky tonk tele' and was known to impress the audience so much with his licks, they would throw buckets of beer on him as a show of their love and appreciation. It was only a matter of time before Dan and Joel were lucky enough to get the chance to perform together and toured the States for a few years together with a fiery ska/reggae/rocksteady powerhouse also out of the Bellingham area, "The Yogoman Burning Band". Dan and Joel recorded many demos together and contributed original material to the Burning Band, but the proto-rock of "Please Some", is pure Royal Dees. This tune, composed and recorded by Ricci, was actually conceived as a submission to Tramp Records and remained unfinished for many years while also suffering from the degradation of the original cassette it was recorded on. The Duo re-recorded again 4 years later when they were both living in Portland, Oregon and that version lives today as side D's "alternate take" which Ricci found in his cassette archive over the summer. This version also came with it's own set of audio issues, notwithstanding the botched ending, which we have retained here for you as the loose and roots funky vibe of the whole take justifies it's inclusion.

Finally, Joel and Dan's friend and comrade Doug Krebs, who happened to also be a well-loved member of that same Bellingham music community, especially as the go-to sound and mastering engineer, came through in spades to rescue the two pieces and prepare them for proper release on this, the one and only Royal Dees release to see the light of day on the bold and inimitable Tramp Records.

With his debut release for Peckham club and label institution Rhythm Section International, Hackney-raised Jerome Thomas is declaring the dawning of a new age for British soul music.

Jerome’s school was a home filled with non-stop music; whether that was bootleg CDs of Rare Groove from East London’s Sunday markets to late 90s R&B on The Box or family favourites; Marvin Gaye, Curtis Mayfield, Al Green, Chico DeBarge, Jill Scott. He learnt his prodigious vocal craft of ad-libs and harmonies by listening to Brandy’s ‘98 LP ‘Never Say Never’ on repeat.

Working with a live 6 piece band of assorted ages and musical backgrounds from rock to classical jazz, Jerome’s sound is a 180 degree turn from the direction of travel of UK R&B which has trended towards producers tracks made inside the computer. Jerome composes the pieces, then allows space for interaction with his long term musical collaborators. The ‘organic decisions’ open up the scope of his music as they jam and record. The result is a sound that could been made in the 70s, the 90s or the 00s. He’s the new blood of the sophisticated British sound that traces back to artists like Mica Paris, Soul II Soul and Omar.

For Jerome, music has literally been a life saving vessel for self expression. Like 1% of the population, he has a stutter, which disrupts the fluent flow of his speech. The stutter disappears when he sings, freeing his voice as it’s transformed into an instrument. As an introverted, intuitive Pisces, the songwriting process lets him explore and express his internal cosmos; “a lot of my songs are like diary entries addressed to people I haven’t been able to talk to or speaking about desires I am too embarrassed to talk about”. Jerome describes his sound using the acronym FOE, standing for “Freedom of Expression” and “Fusion Of Everything”. His music is a space for him to dissolve boundaries and binaries.

“As soul beings we are all a mixture of masculine and feminine; a mixture of our Mum and our Dad”. His fine falsetto explores a register that can read as masculine or feminine. The romantic story that runs across the two vinyl sides of “That Secret Sauce” is told without specifying a gender point of view. As Jerome says “we all experience the same thing with romantic situations, so I didn’t want to pin it to one side”. Like many of the great soul records, a close listen to “That Secret Sauce” reveals its romantic narrative; from first meeting to sexual infatuation to the dissolution of the affair, the breaking up and the moving forward - keeping your energy clear. It’s a tale as old as time, retold.