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Repress!

Leif Vollebekk, the Montreal singer songwriter and multi instrumentalist had hit a wall. In the midst of endless touring Leif found himself retreating to his lonely hotel rooms after shows and listening to Nick Drake's 'Pink Moon' alone in the dark. His own songs didn't sound right and he felt the bright spots in his sets were the covers he'd end with: songs by Ray Charles or Townes Van Zandt. In this deep blue mood he booked a secret show at a Montreal dive bar, only playing covers with a band that rehearsed once.  The experience led Leif to change his approach to songwriting: explore the ideas that came spontaneously to him, and let the songs shape themselves. Soon the songs came pouring out of him. This approach is what created the lush, freewheeling and often devastating 'Twin Solitude,' out February 24 on Secret City Records.

"By the time the last notes die away, all that's left should be you," Leif says. "And I'll be somewhere else. And that's Twin Solitude.' 

Leif's third album, features 10 delicate and expansive original songs, with lyrics that pour out of this singer songwriter that are often compared to Jeff Buckley.  Leif's words lay on a bed of elastic instrumentation full of piano, synthesizer, guitar, rich electric bass and strings.

Several songs on the album came to Leif and were written in one sitting. 'Into the Ether' came to be while he was exploring a Moog synthesizer. 'Elegy' is a bedside soliloquy, of love slipping through fingers and came to Leif while he was riding his bike through Montreal.  The meditative 'Michigan' was written on a half-tuned guitar and fully written as he was about to go to sleep.  Other songs on the album capture the countless hours Leif has spent on the road, crisscrossing North America. 'Big Sky Country' recalls a trip to Vancouver with his family when he was young, never forgetting the expanse of Montana and listening to Ian Tyson's song 'The Gift' in the car over and over again.
'Twin Solitude' features Olivier Fairfield from Timber Timbre (drums), Sarah Page from the Barr Brothers (harp) on 'Rest' Shahzad Ismaily of Marc Ribot's Ceramic Dog and SecretCheifs3 (bass) on several tracks and the string duo Chargaux throughout the album as well.  It was engineered by Dave Smith and recorded at his Breakglass Studios in Canada.  Produced by Leif Vollebekk.

Vollebekk made his album debut in 2010 - and since then has performed at the Newport Folk Festival, and shared stages with Daniel Lanois, Beth Orton, Sinéad O'Connor, Patrick Watson, Coeur de Pirate, William Fitzsimmons and Sam Amidon. His debut 'Inland' was described as  beautiful, memorable and moving' by NPR and  timeless and monumental'  by The Independent.

Mutant is proud to present Academy Award-winning composer Michael Giacchino's latest album, Exotic Themes for the Silver Screen – Volume 1, featuring iconic scores from Giacchino's extensive portfolio rendered in the retro lounge style of Exotica from the 1950s.



“It's no secret that we at Mutant are huge fans of Michael Giacchino,” says Spencer Hickman, Co-Founder of Mutant. “We're excited to release a retrospective of his astonishing three decades as a composer. Rather than just curating a simple compilation of his previous works, Michael went back into the studio, rearranged and re-recorded every major theme from his career. These tracks have been recorded in an Easy Listening style inspired by such greats as Martin Denny and Les Baxter, creating not just a unique and incredible look back at some of the most beloved movie and television themes of the modern age, but also bringing a fresh, exciting take to the beautiful journey he has taken us all on with him. It feels like you are discovering these songs for the very first time: timeless, beautiful, and a joy to listen to. These newly recorded themes transport you to a far-off sunset, looking out at the ocean, complete with a cocktail in hand, providing a much-needed escape from the stress of modern times, and we can all agree that is something we all crave right now.”



Exotic Themes for the Silver Screen – Volume 1 spans nearly two decades of Michael Giacchino’s music, from his early video game scores to his television hits and blockbuster films. The album transforms these works through the lens of Exotica, replacing epic strings and thundering drums with vibraphones and marimbas.



“This album was inspired by the work of Arthur Lyman and Martin Denny,” says Giacchino. “What would they do with the Star Trek theme? Or video games like Medal of Honor? It was a way for me to play in that world I loved so much growing up. I thought it would be fun to create a fantasy world, where this album was recorded back in 1967 and then lost, only to resurface today.”

The album showcases Giacchino’s unerring talent for melody, stripping down grand symphonies to their essential elements while retaining their aesthetic and emotional core.



“So much was rooted in the big orchestral sound, so it was really about scaling it back. The real trick is figuring out the little fun hooks and things you can add along the way. There were no rules; I was up for anything. It was a way to re-engage with the material and be creative in a new way.”



Exotic Themes for the Silver Screen – Volume 1 includes an array of reinterpreted pieces from Michael Giacchino’s career. Highlights include ‘Primordial Forest’ from the 1997 video game The Lost World: Jurassic Park, ‘Life and Death’ from Lost, the theme from Ratatouille, ‘Roar!’ from Cloverfield, ‘Enterprising Young Men’ from Star Trek (2009), ‘A Man, A Plan, A Code, Dubai’ from Mission: Impossible - Ghost Protocol, and a Super 8 suite.



Featuring package design by Luke Insect, and liner notes by Charlie Brigden.

2024 repress

Rush Hour’s RSS series excels in unearthing buried treasure, offering a second chance for artists and releases that have long been overlooked. That’s certainly the case with ‘Witches’, the superb sole single by British 1980s wave trio Zenana.

Originally released on seven-inch by the tiny PRM label in 1986, ‘Witches’ was the product of a sister-brother songwriting team whose music was mostly recorded in the front room of a terraced house in Nanpean, a small industrial village in Cornwall, England’s most south-westerly county. While the single was infectious, impeccably produced and dancefloor-ready, it sold in limited quantities at the time.

Zenana’s story can be traced back to the early 1980s, when singer-songwriter Anita Tedder founded the all-female trio as a vehicle for her musical ambitions. To bring her songs to life, she joined voices with her brother Mike, an early adopter of electronic music who had built a studio – nicknamed MFR, short for ‘Mike’s Front Room’ – in his Cornish home.

Countless Zenana tracks were recorded at ‘MFR’ between 1984 and ’86, with the resultant demo cassette securing the band a management contract, a slew of live bookings, a video shoot and even a television appearance. Buoyed by this underground success, they headed to the remote Sawmills Studio in Cornwall – famously only accessible by boat – to re-record ‘Witches’, a song inspired by local folk tales of witches gathering near Mike’s home.

While this version of ‘Witches’ failed to make an impact at the time, it has become something of a cult classic following its’ rediscovery by crate digger Kiernan Abbott – and subsequent championing by other dusty-fingered DJs including Antal, Skyrager, Trevor Jackson and Luke Una – in early 2023. The buzz inspired Zenana to perform live again for the first time in decades, with the story of their surprise comeback being covered by British media outlets including the BBC and (more surprisingly) the Daily Mail.

Now presented in re-mastered form, ‘Witches’ is a genuinely slept-on gem. Propelled forwards by punchy drum machine beats, a killer synth bassline and fizzing keyboard sounds, the song benefits greatly from strong vocals and an extra-percussive middle eight layered with vocalisations, cosmic spoken word sections and swirling noises.

It comes backed by a brand-new extended ‘spell of love’ courtesy of Bristol duo Bedmo Disco, AKA music journalist Matt Anniss (author of Join The Future: Bleep Techno and the Birth of British Bass Music) and DJ/production partner Gareth Morgan. Anniss is a long-time friend of Mike and Anita Tedder who has fond memories of visiting Mike’s home studio with his family around the time that ‘Witches’ was recorded.

Working from Zenana’s original MFR eight-track recording (tapes of the single version were lost years ago), Anniss and Morgan have turned in the extended ‘dance mix’ the track never had first time around. More atmospheric, clandestine and dancefloor-focused, it offers authentic nods to New York proto-house, mid-80s Shep Pettibone dubs, and the pioneering synth-pop productions and dub mixes of Factory Records regular Martin Rushent.

Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.

Originally released in November 1984, Limahl’s debut solo album ‘Don’t Suppose’ is to be reissued on recycled lavender vinyl to celebrate its 40th anniversary. The album is probably best known for the aforementioned ‘Neverending Story’. As well as featuring in the film of the same name (which is being revived for the big screen once more), it more recently found a whole army of new fans when it appeared in the final episode of the third season of Stranger Things. Set in 1985, the song is sung by Dustin (Gaten Matarazzo) and his long-distance girlfriend Suzie (Gabriella Pizzolo) as a way to reconnect after not seeing each other for some time. Following the season's release on July 4, 2019, interest in the track surged; viewership of the original music video had increased by 800% within a few days according to YouTube, while Spotify reported an 825% increase in stream requests for the song.

Further reflecting on the album Limahl goes on… “I can’t believe it’s been 40 years, yet sometimes it feels like yesterday! Looking back now, it's surreal to think that at just 24 years old, being born and raised on a Wigan council estate with no family connections in the music business, I was thrust into a whirlwind of travel and appearances to promote my music worldwide via TV, radio, and press—long before the internet.

“I’m excited to imagine where and how the song will continue its journey. It’s amazing that it still feels relevant 40 years on. I’m not too shy to say how immensely proud I am of its achievements.”

Limited Opaque Green Vinyl. Anthony "Ant" Davis is a distinguished hip-hop producer, one-half of the renowned duo Atmosphere, and a founding member of independent record label Rhymesayers Entertainment. His decades-long career of beat-making has also included works for MF DOOM, Brother Ali, Murs, Rav, Sage Francis and a dozen others. Raised in a military family, his nomadic upbringing exposed him to many diverse influences and, coupled with his father's love for collecting records, laid the groundwork for his deep appreciation for all sorts of music. Ant's latest endeavor, Collection of Sounds, is a four-volume series of instrumental works showcasing the breadth and depth of his musical expertise. The Collection of Sounds series offers a window into Ant's creative journey, reflecting his evolution as an artist over the years. Drawing from a vast vault of unreleased material, he's exhumed cross sections of his catalog with surgical precision, organizing songs by sound rather than mere chronology. Volume 1 is at times so intimate as to border on claustrophobia, like the creeping "Bar One" or the haunted twinkling of "I Was Always A Collector" while other tracks are expansive enough to fill entire venues, like the forebodingly airy "4-Track Beyond Beat 1996." Many of the beats on Collection of Sounds: Volume 1 have pockets that are practically begging for rappers to explore. When he first pondered releasing an instrumental series, Ant figured he might want to make the songs more intricate than the ones gave to his rapper collaborators, filling up the space in the mix that would normally be given over to their vocals. "But then it would be jazz, right?" he says with a loud laugh. "And I'm not that." Fitting, as Collection of Sounds is not about forgetting who you are-it's about remembering, reconfiguring and reimagining, all at once; a testament to Ant's artistic integrity.

2024 REPRESS

Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.

Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.

And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."

Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.

It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.

After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.

"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.

"This Jon Favreau-directed movie stars Will Ferrell as Buddy, a human raised in the North Pole to be an elf. After discovering he`s really a human, Buddy heads to NYC to find his place in the world and to find his father.

He not only finds his family, but he also manages to rekindle Christmas spirit in the city. The soundtrack includes songs by Louis Prima, Ferrante & Tercher, Ertha Kit, Brian Setzer, Ella Fitzgerald, Wayne Newton, Stevie Wonder, Billy Preston, Johnny Osbourne, Frank Sinatra, Ray Charles, Zooey Deschanel, and Leon Redbone."

There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity.

There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process.

We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

Also available on Red Vinyl - Limited Edition of 200 Copies.

Gilligan Moss - das aus Brooklyn stammende Duo, bestehend aus den Kindesfreunden Ben und Evan - ist mit seinem neuen Album “Speak Across Time” zurück auf ODESZA’s Foreign Family Collective!

Auf „Speaking Across Time“ kapselt jeder der zwölf Tracks des Albums persönliche Momente durch eine Linse der Zeitlosigkeit ein. 90er-Jahre-Rave, Old Country, 70er-Jahre-Soul, Honky-Tonk-Piano-House und sogar ein Sample des Dichters und langjährigen Mentors, David Mason, kollidieren unter Gilligan Moss' gekonnter Einbindung von Samples und moderner Tanzmusikproduktion.
Die Band arbeitete mit der bildenden Künstlerin, Orly Anan, in Mexiko-Stadt zusammen, um farbenfrohe Kostüme und Masken für das Single- und Album-Artwork zu kreieren. Das Kunstwerk ist eine Erkundung von Dualität, Spaltung, Zwillingsschaft und Zusammengehörigkeit. Orly war von entscheidender Bedeutung für diese Aufgabe.
Das Duo trat bereits auf namhaften Festivals wie Coachella, Pitchfork Paris und Electric Forest auf und spielte im Vorprogramm von u.a. Glass Animals, Toro Y Moi, Tourist, Chromeo, ODESZA, Elderbrook und vielen mehr.

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we've been listening to their self-released debut album Trouble In The Shed since last year and finally spoke with the band and agreed to release it on vinyl for the first time. It was very good timing as they've just been in the studio to finish recording their second album, so we'll be releasing that later in 2024. Welcome on-board! We caught up with Peter to ask as few questions about the band_ Q: "In a week when the Labour Party promised to return the rail network to public ownership, we ask how did your fascination with trains begin?" A: "Honestly, I don't really know - I've just loved them ever since I can remember. It's not like with some people who had a family connection or watched Thomas the Tank Engine; I've just always loved them. I guess it's just a childhood obsession that never went away!" Q: "'Trouble In The Shed' is quickly becoming a firm office favourite here at DG. There's a touch of punk, indie and new wave about it. What would you say are the key influences that make up your musical DNA?" A: "My main influence when this album was released was Blyth Power. They'd been my favourite band for years when this was recorded, so everything on it was influenced by them in some way. They've had so many different musical styles over the years that they kind of conglomerated into this album, to create yet another eclectic mix of songs. The only real exception to that on this album is Electrification - no prizes for guessing the influence there! If you see us live, however, you may notice another influence pervading through our songs. That influence is the anarcho-hippy band 'The Astronauts,' whom I discovered midway through the recording process, and have quickly become one of my all-time favourite bands!" Q: "What's the story behind your song 'Hornby Horrors'?" A: "Hornby Horrors is an interesting one. People who haven't heard it may assume it's about some ill-fated model railway endeavour, but it's actually a tale of corruption in, of all places, the model train company Hornby! This song was the result of several minor scandals at Hornby HQ making their way to the modelling masses, the main ones of which were an ill-fated tier list, which placed retailers in three categories as to whether or not they received Hornby's products, with tier 3 retailers barely getting anything at all. Interestingly, the UK's former biggest retailer, Hatton's Model Railways, was a tier 3 retailer due to their 'competing products' (made by their own small brand Hatton's Originals') and has recently announced closure due to financial hardship. Now as we all know, correlation does not equal causation, but I wonder_" Q: "The album is being released on a specific shade of green vinyl. What's the significance?" A: "The shade of green on the vinyl is very similar to the shade worn by the locomotives from the Great Western Railway in the 1870s - 1940s. Due to this connection, we thought it was only proper we picked this colour, which we have dubbed 'Great Western Green!'" Q: "The album release coincides with an appearance at Rebellion Festival in Blackpool this August. Can you give the readers three reasons why they should come and see your performance?" A: "1 - We like to think we provide something different with our music - it is very obviously punk, but it's a bit more light-hearted than a lot of the political stuff, with nearly all the songs being about some sort of obscure steam loco engine. If you just want something light-hearted to enjoy, we might just be the band for you! 2 - We've got a rather interesting line up - instead of the usual line-ups you see, we've got a 15 year-old singing drummer with his dad on guitar, a newly-turned adult with a massive ginger afro playing the bass, the guitarist from the old anarcho band 'Dog On A Rope' playing some gnarly lead parts, and all topped off with some beautiful backing vocals from the drummer's sister and mother. As Attila the Stockbroker described us, Blyth Power meets the Partridge Family - not to be missed! 3 - Here's something you won't forget in a hurry - as well as his vocals, our 15-year-old frontman Peter plays drums and trumpet at the same time! If that's something you want to see, make sure you get down to see us!"

Grande Coisa! (Big Deal!). You could hear it. It is the eternal irony of life. For a composer who has been making music since he was a teenager and only at the age of 38 does he make his work public, it can indeed be a big deal. Grande Coisa, is Dorea's first authorial album, and tells his stories, the ones he lived, others he heard about, but mainly the ones he created. With all the songs composed during the most isolated period in the pandemic, the work can be dense in many moments, difficult to digest, but there are sighs. And there are stories that intersect, like those of the boys who are one and also millions, and show the artist's vision of Brazil. The disappeared, forgotten, the sad and aimless still appear. And there is the warmth of the song for a loved one or even a family partnership, between mother and son. Grande Coisa has ten songs, all written by the artist himself, one of them with lyrics adapted from an excerpt from a book written by his mother. Its musical roots are rooted in rock, but with a blatantly Brazilian gaze and interpretation. It has musical production and minimalist paths chosen by Sebastian Notini, collaborative arrangements forged in the encounter of Dorea's guitar with Seba's percussive and melodic vein and Carla Suzart's bass, and a wood weave that ends the album with the timbres of Joana Queiroz (bass clarinet and clarinet) and Leandro Tigrão (flute) under the baton of maestro Per Ekdahl.

Asmaa Hamzaoui stands out as a pioneering female figure in the traditionally male-dominated realm of Gnawa music. With her group, Bnat Timbouktou, she brings a dynamic and spiritual dimension to the genre, infusing it with the vibrant energy of desert blues. Despite the essential role women have played in Gnawa rituals, female musicians have historically been underrepresented. Hamzaoui, however, is at the forefront of changing this trend. Born into a family deeply entrenched in Gnawa traditions in Casablanca, Hamzaoui was immersed in this musical heritage from a young age. Her father, a master musician, and her mother, a dancer, provided a rich environment for her early education in music. She learned to play the guembri, a three-stringed lute central to Gnawa music, and began performing with her father's band on the qraqeb, metal castanets used in Gnawa music, and in the choir. Encouraged by her father, she eventually formed her own group, Bnat Timbouktou. The group's debut album, "Oulad Lghaba," recorded in collaboration with the Swedish label ajabu! Records, was critically acclaimed and nominated for a Songlines Music Award. This album, along with their upcoming release "L'bnat," showcases Hamzaoui's commitment to preserving and revitalizing Gnawa music. "L'bnat," will emphasize the female traditions and spiritual aspects of Gnawa culture. Hamzaoui's performances are characterized by her powerful voice and the rhythmic, percussive playing of the guembri. Her music not only pays homage to the spiritual and healing qualities of Gnawa but also aims to keep the tradition alive by introducing it to new audiences worldwide.

After meeting in 1992 as members of St Etienne's touring band, Debsey Wykes (Dolly Mixture) and Paul Kelly (East Village) turned their shared love of the soft rock and sunshine pop of the 1960s and 1970s into the now-legendary Birdie. In the summer of 1998 Birdie recorded their debut album "Some Dusty" with the estimable Brian O'Shaughnessy (Denim, Moose, The Clientele). It's a deep and beautiful album, with melodic & sophisticated (yet understated) arrangements providing the perfect setting for Debsey's sweet and soulful soft-pop vocals. Add in gorgeous string arrangements from The High Llamas' Sean O'Hagan and you have all the makings of a pop classic.

Subsequent singles and a second album cemented their reputation as top-notch purveyors of pop, but family life and other artistic pursuits called and Birdie has only been sporadically active since 2001. Their brief but perfectly-formed discography has become the stuff of legend, though, charming savvy pop fans around the world with its timeless songcraft and flawless production.

Summer 2024 will see the long overdue vinyl reissue of "Some Dusty" on US indie label Slumberland Records, returning this classic album to much-needed availability in deluxe remastered form with a deluxe 60s-style laminated heavy card jacket and a fine insert with rare photos and liner notes by Chickfactor’s Gail O’Hara.

The only album by Descendants Of Mike and Phoebe, a family band made up of Bill Lee and his brothers, who are also known as the father of Spike Lee, the director of films such as 'Crooklyn' and 'Do The Right Thing'. A Sprit Speaks. The great song 'Coltrane' by Bill Lee, also famous for his performance of Clifford Jordan, is a miraculous balance of dignified and beautiful piano tones and a heavy waltz beat. M3 'Chick Chick', which seems to have been dedicated to Chick Corea, is an up-tempo, fast-moving song. From there to the last track, 'Too Little, Too Late', a beautiful, tear-jerking piece that conveys the depth and greatness of 70s spiritual jazz!

2024 Repress

'The Magical World of The Strands' is one of the most accomplished albums of British songwriting of all time. Why every household doesn't have a copy, I don't know. Seriously, I think it's a masterpiece' - Richard Hawley

'Mick Head is a genius' - Noel Gallagher

Michael Head has announced details of the release of his first album of new material in over 11 years.

Recorded under the name of Michael Head & The Red Elastic Band, 'Adiós Señor Pussycat' is released on Violette Records on Friday 20th October 2017.

Beautiful and evocative and recorded in his home-town of Liverpool between March 2016 and June 2017, the album is the culmination of four years of hard work. Equal to his finest moments, Adiós Señor Pussycat will undoubtedly only further cement his reputation as one of this generations greatest songwriters.

Celebrated Zambian guitarist and bandleader Paul Ngozi’s concept album about the stuggles of those living in Africa’s 1970s townships Includes Oversized 8 Page Booklet That Details Paul Ngozi and The Ngozi Family’s Arc, Including Rare Photographs, Discography And Annotation. The third entry in an era-defining reissue series on Now-Again centered around this Zamrock legend and his band - previous entries include Day Of Judgement and 45,000 Volts

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” (New York Times)

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere.

Enjoy The Ride Records is happy to share an exclusive variant of the Milan Records release of Euphoria (Original Score from the HBO Series), Music by Labrinth.

Written and recorded in close collaboration with the Euphoria writer and director Sam Levinson, Labrinth‘s original compositions feature prominently throughout the hit HBO series as a sonic companion to the show’s angst-driven narrative and intoxicating visuals. The resulting 26-track collection is a genre-blending mix of gospel, soul, and electronic influences, indicative both of Labrinth’s imitable style as well as the show’s deeply moving storyline.

Of the album, Labrinth says, “My experience with Euphoria has made me a better musician. It was a dream come true to give wings and add magic to the different storylines. It was a collaborative effort among Sam Levinson, the crew, and the cast – I only added texture to an already phenomenal show. I hope that anyone who listens to the music embraces feeling something.”

Euphoria follows a group of high school students as they navigate love and friendships in a world of drugs, sex, trauma, and social media. The ensemble cast of Euphoria includes actor and singer Zendaya, Maude Apatow (Girls), Angus Cloud, Eric Dane, Alexa Demie, Jacob Elordi, Barbie Ferreira, Nika King, Storm Reid, Hunter Schafer, Algee Smith and Sydney Sweeney (Sharp Objects).

Euphoria is an American adaptation of an Israeli show of the same name, and all episodes are written by Sam Levinson (Assassination Nation), who also serves as executive producer.

The Enjoy The Ride Records Exclusive variant, ""Night Sky Blue,"" is limited to 1,000 copies. Euphoria is housed in a silver foil stamped & numbered soft-touch gatefold jacket with spot gloss and also contains a full-color insert.

Chris Cohen was always a quiet kid. In fact, this introversion was one reason he began playing music as a toddler-to communicate without speaking, to identify with others without the direct representation of words. It has worked, too, with Cohen's terrific stint in the mighty Deerhoof and his own captivating art-rock act The Curtains, preceding production and session work for the likes of Weyes Blood, Kurt Vile, Le Ren, and Marina Allen. Somewhere along that long way, Cohen started writing lyrics. He found that, though it didn't come naturally, the process offered a new sense of self-discovery and reckoning, a way to see himself and the world from unexpected angles. His three twilit albums of casually complicated pop during the last decade radiated these epiphanies: handling family strife, navigating advancing age, and understanding social woes. But Cohen has never had as much to sing so directly as he does on Paint a Room, his first album in five years and his debut for Hardly Art. If Cohen's meanings have previously lurked inside the tessellated musical layers he built alone, they are newly clear and resonant here, animated and underscored for the first time by a band playing in real time. There is the endless miasma of state violence on the subversively melodious opener "Damage," the existential exhaustion of modernity on the horn-traced jangle "Laughing": this is Cohen communicating with friends not only through his deep understanding of groove, harmony, and hook but also with his listeners through songs that croon of our uneasy little era. On Paint a Room, Cohen's music feels like a warm spring breeze, easy to love and gentle to feel. But it's often carrying something heavy, as if blowing in from some unseen storm cloud. Paint a Room both reckons with reality and conjures an alternate one, where nighttime walks and a neighbor's wind chimes offer endless escapes for the imagination, space for the mind to roam. Sublime and sun-lit, these 10 songs consider dreamy new ways out of old predicaments, clearly stating the problem and dancing and singing their way somewhere new. Paint a Room features Jeff Parker contributing the fluttering horn arrangement on "Damage," and Parker collaborator Josh Johnson (who produced Meshell Ndegeocello's Grammy-Award-winning album The Omnichord Real Book) supplying flute, sax, and clarinet arrangements throughout the record.

This is the only album produced in 1975 by the 11-piece Turner Brothers, who were active mainly in Indianapolis, Indiana, USA!
As the band's name suggests, the Turner Brothers were a funk band consisting mainly of the Turner brothers. From driving high-speed funk to slow ballads, the rhythm section supports the backbone of the band, and the vocals and chorus are perfectly matched to deliver a superb groove that only a family band can deliver. The band's groove is as breathtaking as a family band can be! The opening number "Running In The Rain" (M1) starts with a thunderous sound effect and is followed by a thick brass sound, while "Please The People" (M5) starts with the sound of rain and shouts, with the brass blowing in all directions, The percussive beat of "Cause I Love You" (M3) with MJ-like boy vocals, the rich sweet soul of "I Remember" (M6) that will make you cry, and the killer soul of "Sweetest Thing In The World" (M7) that should be considered the highlight of this album, are just a few examples of the many soulful tracks on this album. The album is a top-quality disc that is full of the best of soul and funk, including the killer soul "Sweetest Thing In The World" (M7), which is the highlight of the album!
This is a newly remastered reissue with the latest specifications!

"Reissued for the first time on vinyl here’s the second album of Jamaican reggae singer George Faith, originally released on Hollywood records back in 1979.
"Wonderful soul reggae melodies backed by the likes of Sly & Robbie, Aston 'Family Man' Barrett, Tommy McCook, Earl 'Chinna' Smith and more. Produced by the one and only Bunny Lee at Harry J Studios and mixed by Scientist at King Tubby’s Studios!"

Immerse yourself in the immersive world of Succession like never before with the Official Soundtrack on vinyl. Discover the soundscape that accompanies the gripping drama of the Roy family's power struggles, brought to life through a selection of tracks that capture the essence of the acclaimed series.

Featuring both original compositions and carefully selected classics, the Succession vinyl soundtrack offers an emotional journey through the highs and lows of the Roy dynasty. From moments of intense family conflict to triumphs of corporate conquest, each track takes you deeper into the heart of the story, making it a must-have for fans and collectors alike.

Treat yourself to the luxurious experience of vinyl and enhance your listening sessions with the rich, warm tones that only analogue audio can offer. Add the Succession vinyl soundtrack to your collection today and immerse yourself in the world of power, wealth and family intrigue

In a heartfelt tribute to Mike Wells, who tragically passed away in 2022, Viasonde, with the blessing of the Wells family, embarks on a mission to reintroduce Gridlock to the world. The four main Gridlock albums will be reissued on vinyl for the first time, starting with "The Synthetic Form" double LP.
Available on June 7th, this limited edition release will be featured on clear vinyl with black and bone splatter alongside black vinyl. Additionally, 50% of the proceeds from LP sales will be donated to the American Foundation for Suicide Prevention, honoring Wells' memory. Both formats are extremely limited and Non-Returnable.
In the mid-90s, a resurgence in Electro-Industrial was firmly focused on dance-floors. At this pivotal time, two San Francisco metal scene defectors, Mike Wells and Mike Cadoo, connected through a mutual friend. Bonding over their shared appreciation for non-metal influences, Wells, armed with a sampler and a couple of synths, had crafted a few tracks. Cadoo swiftly added vocals to these compositions, and thus, Gridlock was born.
With relentless dedication, the duo embarked on sculpting a grittier, more ominous variant of electro-industrial. Steering clear of the upbeat rhythms typical of the genre, they opted for a dystopian, dirge-like pace. Drawing inspiration from iconic acts like Skinny Puppy, Einsturzende Neubauten, and Fields of the Nephilim, they pieced together the Sickness demo. Eager to share their creation, they distributed the demo to anyone who would lend an ear, including many users on the rec.music.industrial newsgroup. Despite numerous rejections from industrial music labels citing its lack of danceability, Pendragon Records saw potential and took a chance.

Thus commenced the earnest endeavor of crafting their debut album, "The Synthetic Form." Upon its release, it marked a pivotal moment in industrial music, ushering in a fusion of classic, experimental, and dystopian ambient elements. Pendragon Records tantalizingly teased the album as "Unleashing a World of Your Demons," offering a glimpse into its bleak exploration of themes like regret and personal turmoil.
Over the years, Gridlock evolved through three subsequent albums, progressively exploring diverse sonic territories beyond the confines of industrial music. However, their journey met an acrimonious end with the duo parting ways, leaving behind their albums as poignant relics, elusive on digital platforms and sought after by collectors at premium prices... until now.

Bed Maker's origins date back to summer 2019, when bassist Arthur Noll (Light Beams, Kid Congo Powers) and drummer Vin Novara (The Crownhate Ruin, 1.6 Band), each having played in Alarms & Controls, invited guitarist Jeff Barsky (Insect Factory, Time Is Fire) to collaborate and see what might happen. By autumn, they invited Amanda MacKaye (Desiderata, Routineers) to join them, and the chemistry was immediate. In February 2020 at DC's Rhizome, Bed Maker played their first show and then paused their activities the follow- ing month, as did most people.
Due to the state of the world in 2020 and 2021, they continued writing music through sharing recordings. Mike Schleibaum assisted by assembling home recordings of their individual parts into working demos. This allowed them to keep momentum, and by the time in-person rehearsals resumed, a handful of songs and new ideas were close to fruition. Bed Maker resumed playing shows in November 2022.
Following a self-released digital single ("Miss Dickens") and an EP (Three on the Tree) -- each recorded with Schleibaum and Matt Michel at Viva Studios -- Bed Maker began work on their self-titled LP in May 2023 with Ian MacKaye and Don Zientara at the original Inner Ear Studio in his basement in Arlington, VA, and with Mike Schleibaum at his home studio in Maryland.
That their debut LP even exists is only possible thanks to the support of family and many friends, and also serves as an act of defiance to the horrors of the last four-plus years.

Pone is one of the founders of The Fonky Family : a French hip hop band from the 90's. He won many gold and platinum records. Paralyzed by amyotrophic lateral sclerosis (ALS) since 2015, also known as Charcot disease, he started producing again in January 2019. Since then he produced the first album in history to be composed, made and mixed with only eyes, called Kate & Me. Pone used samples from Kate Bush to whom this album is dedicated.

Staples Jr. Singers — the family gospel trio of siblings Edward Brown, R.C. Brown, and Annie Brown Caldwell — announce their first new album in nearly 50 years, Searching

It happens at times that a stone cold classic from a bygone era gets rediscovered. But how often does that rediscovery happen when the band is still around? And how often does it lead to a new album? That’s the surprising circumstance behind the Staples Jr. Singers’ long-awaited second album, Searching

You likely know the Staples Jr. Singers—the family band from Aberdeen, Mississippi—from their first and only record, 1975’s When Do We Get Paid (Luaka Bop, 2022). They made that record themselves when they were only teenagers. Finally, in a moment they’ve been waiting for most of their lives, the family is back with their sophomore album, Searching. Recorded in 2023 in West Point, Mississippi, and Nashville, Tennessee, and produced by Ahmed Gallab, aka Sinkane, the first pressing comes with a booklet of photos by Adam Wissing and notes by Anton Spice.

"Family Style is a blues rock album by the Vaughan Brothers, originally released in 1990. The album features the brethren guitarists and vocalists, Jimmie and Stevie Ray Vaughan, in their only studio collaboration. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with ""Thanks Mama V. for letting us play."" With slick production from Nile Rodgers, this is bluesy, but far from purist. Jimmie makes his vocal debut on ""White Boots"" and ""Good Texan,"" and the brothers blur the lines between their expected guitar styles - Stevie sometimes going for a less sustainy twang, Jimmie moving into Albert King territory. Family Style is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl and includes an insert with lyrics. "

Hot on the heels of our New Year’s smash, “Someday” by The Tempests, Outta Sight proudly presents the Cornelius Brothers and Sister Rose with their two most requested sides… back-to-back for the very first time!!!

The group formed in 1970 in their home town of Dania Beach, Florida. Original members were siblings Carter, Eddie and Rose Cornelius and friend Cleveland Barrett who was tragically killed in a car crash before they hit the charts. In mid-1970 they released their first single “Treat Her Like A Lady” which went to #3 on the U.S. Hot 100 earning the trio a Gold Disc. The follow-up single, “Too Late To Turn Back Now” (featured here),faired even better, hiting #2 on 22nd July 1972 scoring a second Gold Disc. Both tracks featured on their self-titled debut LP, a top 30 Pop hit in ’72. Despite the huge Stateside success of “Too Late To Turn Back Now” it failed to hit in the U.K. and even at the time, it resonated more with the easy-listening MOR audience than the soul fraternity who were tuned in to the harder-edged funky grooves of the likes of Isaac Hayes and Curtis Mayfield. It wasn’t until the Nineties that the Cornelius family finally caught the imagination of the U.K. rare soul scene and have remained a turntable favourite ever since.



Our chosen B-side, “Big Time Lover”, is the title track from the group’s second album released in 1973 and, wonderful as it is, it failed to break the Hot 100, and only dented the R&B Charts peaking at #88. Again, it was completely ignored by the U.K. and yet today it is the more popular of the two sides. Ironically, both original United Artist singles are actually quite hard to find in the U.K., despite the Gold Disc status of “Too Late To Turn Back Now”. A quick look on ‘discogs’ reveals only one copy currently available and zero copies of “Big Time Lover”!

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (UK), Nice Music (AUS), Clan Destine (SCO) & Night People (US), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'CFT' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

To address the weight of the world without speaking of weariness. To march the song to breathlessness but loosen your grip when the band wanders. To tell all your secrets but shield your loved ones from vulnerability. To dress up in the charm and temptation of the pop song but maintain a core of peculiarity, of a single voice trying to navigate this world. This is the project of the Spatulas. Think of the few songwriters who know they're the only ones in the world who could write their songs. The ones who sing in the confidence that the song couldn't exist without them: Peter Jefferies, Jenny Mae, Ron House, Heather Lewis. Jonathan Richman? Put Miranda Soileau-Pratt and the Spatulas on this list. All eleven songs on `Beehive Mind' share a percussive, unshadowed presence, a steady, clear-voiced clop. Every note on the record is a little bit sad on its own but then they're organized in a way that you don't actually notice. Credit this to the band's skill_Jon Grothman, Lila Jarzombek, Kyle Raquipiso and Miranda Soileau-Pratt all play with no limits and they all play with profound ease. The songs breathe in warmth and patience, they are immediate and sweet. And then they start to meander. The guitar skitters with the deliberate unpredictability of a wild animal. Parts repeat and reset with the obsessiveness of an anxious mind. The lyrics open doors to unexpected scenes of lovers, family, and violence. This is all intentional: "I need to play music and listen to music as a form of therapy," explains Soileau. This means safety, this means encouragement, this means trauma, this means hard questions. Only a band so comfortable at the margins, only a band so capable, only a band so trusting can achieve all this. Miranda Solileau-Pratt wrote the first Spatulas song in 2020, while living in Oregon. Since that time, the band has released two cassettes and toured the United States. Members of the Spatulas have also played in The Blimp, Honey Bucket, Hot Gum, and Meerkaz. The band has shared stages with Helen, Lavender Flu, Debt Rag, Pink Reason, Blues Ambush, and Kath Bloom. `Beehive Mind' is their debut LP.

Strawberry Wind, produced by Richard Swift (Nathaniel Rateliff and The Night Sweats, Foxygen, The Shins) not only delivers on a promise to create an honest album for kids and parents but it represents what Baylin calls the “beautiful divide,” of juggling family life with her creative life, a difficult task by any measure. “The divide in me is easy to feel because I invest 100% of myself into my family and often the creative gets put to the side,” she explained, “so when I decided to begin writing for this album it just poured out of me.” Now singer / songwriter Jessie Baylin shares that creative outpouring on her debut children’s album, ‘Strawberry Wind’. Throughout the album, Baylin doesn’t hold back on telling it like it is. Weaving through lyrical themes of dream life, supermoons and summertime vibes are some gentle doses of reality. “I don’t want to lie to my kids. Life is hard sometimes and you need to find a way to deal with it... there will always be things in life you can’t control. But, you can dream of a better world and make your own refuge,” says Baylin, who is mom to 4-year-old Violet and is expecting her second child with her husband. Baylin, who’s released four critically-acclaimed albums over the years, says the seed was planted for this album after recording a cover of Harry Nilsson’s He Needs Me from the kids’ film Popeye. “The song has a childlike sense, but the message is very deep. It’s magical, it’s dark, and it hit all the right notes. I wanted to do an album that feels like that” she says. “Since becoming a mother, I found myself being around the house a lot and I started gravitating to these wonderful albums I remembered from my own childhood - The Beatles, Harry Nilsson’s The Point!, John Lennon, Roger Miller’s Robin Hood and Carole King’s Really Rosie." The magic of those iconic 1970s records she mentions is that they’re all grounded in solid songwriting and were never dumbed down for the audience. “Those records felt very honest and that was my mission here. I also wanted it to feel magical and remind people of the child inside of all of us that is filled with a sense of wonder and pure joy and hope.”

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of IOSONOUNCANE.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by KEXP Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

Two years in the making, 25-year-old Angelica Garcia's album Cha Cha Palace is the result of an artist's need to SAY SOMETHING. The second song on the record, "Jícama" might only be a minute and 25 seconds in its entirety, but the message spans generations and is one that resonates deeply for Garcia with her Mexican and Salvadoran roots. Singing/shouting, "I see you, but you don't see me Jímaca, Jímaca, Guava Tree_I've been trying to tell ya, but you just don't see, like you I was born in this country," Garcia tells the reality for millions of Americans unapologetically and with passion.That feeling of being between places is something Garcia knows well having been raised between multigenerational, multicultural, homes with step-parents and half-siblings. Additionally, she made the journey from the West Coast to the East Coast and back again multiple times before finally settling down in Richmond, Virginia.She fondly recalls Mexican ranchera music always playing throughout her childhood. Ranchera was ingrained within the maternal side of her family with her Mother, Grandmother, Uncle & Aunt constantly singing the traditional music throughout the home of her Grandparents.Like Mitski, Lorde, Billie Eilish, and Rosalía, Garcia isn't afraid to tear pages out of her diary and express emotions that might be difficult and oftentimes daunting to share given today's social and political environment. Like her peers, she joins a new chapter of musicians who are connecting with their audiences on a level that lives outside the reaches of technology, trends, and social media, the daily experience of feeling torn between saying something and doing something, for being a voice and speaking with your voice, of being Latina while being American. And it's humanity and honesty that audiences are looking for and will find in spades throughout each note of Cha Cha Palace.

This will be available on ltd edition pink vinyl, with only 250 copies pressed.

We are delighted to welcome the incredible Masal to the Up In Her Room family! Masal is a collaboration between Al Johnson and Ozlem Simsek. Ozlem is a Turkish multi instrumentalist whose middle eastern background is entwined with her western studies in classical music. Al performs psychedelic electronic music as Alien.

As Masal they weave harp, Theremin and electronics into a beautiful aural journeys. Having worked with legends such as Andy Bell & Mark Gardener of RIDE, and Sonic Cathedral, plus enjoyed radio play from the wonderful Simone Butler of Primal Scream on Soho Radio, and Mark Riley and Stuart Maconie on BBC 6 Music, we are very excited for you to see what the pair have been cooking up.

‘The Galloping Cat finds this unlikely pair of “neurodiverse nature lovers” collaborating on six meandering tracks of psychedelic grooves, electronic weirdness and motorik basslines mostly wordlessly exploring themes of self-discovery – and it’s stunning.

Sonic Cathedral – March 2023

The Galloping Cat is a work of compassion and tenderness. It’s also surprisingly funk (see ‘Dying Days’ and ‘Dokuz’) with Al revealing hitherto undiscovered Clyde Stubblefield-style chops behind the (digital) drumkit.’

Even Butterfly’s Make A Sound – March 2023

Bosconi Records Presents Datafreq’s Electrifying EP: “Circuit Garden” Toronto’s electronic music scene luminary, Dave Rout, known as Datafreq, is set to unveil his EP titled “Circuit Garden” on Bosconi Records. With a musical journey as Datafreq spanning 2 decades, and a continuous presence since the mid-80s, he has become a cornerstone in the electronic music scene in Toronto. “Circuit Garden” is a six-track collection that pays homage to Datafreq’s distinctive blend of video game music and electro sounds. A true sonic pioneer, he brings forth his unique musicality that has resonated since he started the project in 2004.

This EP features select tracks from his debut album, “Fun for the Whole Family,” originally released in 2006 on the esteemed Berlin label Das Drehmoment. Notably, these tracks, (never before available on vinyl with the exception of “Just Like 1981”), have been reimagined with slight remixing, editing, and remastering to seamlessly align with the vinyl format. Two brand-new tracks make their debut on this release, adding an extra layer of exclusivity and elevating the EP to a truly special status.

The unmistakable “Datafreq” sound is prevalent throughout the EP, characterized by eclectic electro techno and vocodered tunes. Infused with a melodic approach, the tracks remain dancefloor-friendly, showcasing Datafreq’s exceptional talent for crafting engaging melodies. The EP is adorned with cosmic arpeggios and space synthesizers, reflecting his prowess in creating immersive sonic landscapes. “Circuit Garden” not only celebrates Datafreq’s enduring legacy but also signifies a new chapter in his sonic exploration, inviting listeners to immerse themselves in Bosconi Records’ consistently precise and insightful musical universe.

DJ and producer David Holmes is welcomed to the Late Night Tales fraternity with an evocative collection of personal songs and music, peppered with exclusive new material and rare gems. By now, I think we all know David Holmes, right There's acid house Holmes, with bone-rattling Chicago jams and Detroit destroyers, break-digger Holmes responsible for the grittily shaking 'Let's Get Killed' and seminal Essential Mix compilation (which brought Sixto Rodriguez to people's attention, and then there's soundtrack Holmes. His most enduring and vital source of musical inspiration - cinema - plugged into David's rst solo record 'This Film's Crap, Let's Slash the Seats' and inspired 2000's 'Bow Down to the Exit Sign', created as the soundtrack to a not-yet-made movie. Ofcial soundtracks have been bountiful, including scores for Soderbergh's Out Of Sight and Ocean's trilogy, '71, Hunger and Good Vibrations. In a series of personal songs sung by himself, David's last solo album 'The Holy Pictures' explored inuences of La Düsseldorf, The Jesus and Mary Chain and early Brian Eno. His Unloved collaboration with Keefus Ciancia and Jade Vincent then took us on a musical journey full of raw 60s pop-noir, psychedelia and French Ye Ye with a contemporary twist. Somehow he's also found time to produce records by Primal Scream and Jon Spencer Blues Explosion. Unsurprisingly, for someone au fait with matters cinematic, this Late Night Tales conjures up its own mindmovies. It's not only packed with the judiciously selected nuggets for which his mixes are noted but also stuffed with original material, including collaborations with BP Fallon and Jon Hopkins and an amazing new reading of 10cc's 'I'm Not In Love' by Holmes-produced Song Sung. In fact, there's a Celtic thread running through the whole journey with Stephen Rea's reading of an extract from Seamus Heaney's AENEID BOOK VI - Elsewhere Anchises. Among the other gems included here are David Crosby's lush 'Orleans', Buddy Holly's celestial 'Love Is Strange' and the Children Of Sunshine's 'It's A Long Way To Heaven'. David Holmes loves music. It's a way of expressing the sometimes inexpressible or the inconsolable, a questing desire to nd out just what is over the next hill. It's no surprise to learn he's a keen walker. Always on the move, headphones on, lost in some reverie or piece of music, the soundtrack to his life, the stuff that feeds his imagination. I walk a lot. It's amazing for listening to music: your phone or your emails aren't going and you're just in the forest listening to music. It's so intimate. Anyway, I was listening to the KLF's Chill Out album, which still sounds amazing, but it triggered an idea with concrete sounds through travelling and movement. And one of the things I was trying to do was to use this idea not just break up the moods but also as a metaphor for moving through life and arriving in different destinations or arriving at different stages in different parts of your life. Memory, Love, Living, Family, Friendship, Healing, Death and The Afterworld are some of the themes I wanted to explore within this record. Although these strong themes and tracks are personal to me, I also wanted it to be a great listen that was unpredictable yet had a seamless ow - a journey that was personal to me yet to the listener a great compilation of music that they may or may not have heard before. I hope I've succeeded in the later.' David Holmes 2016

The relatively short life of San Francisco's Aluminum has so far yielded a single (Spinning Backwards, 2020) and an EP (Windowpane, 2022), but their debut LP, Fully Beat, overflows with tenured confidence and a singular style that deftly comprises shoegaze, big beat, and jangle pop. With influences ranging from Orbital, to Wipers, to The Avalanches and Sly and the Family Stone, theirs is a multifaceted take on established forms, fed through fuzz and led by honeyed, male-female vocal harmonies from Bay Area post-punk veterans Marc Leyda (of Wild Moth) and Ryann Gonsalves (of Torrey). "Smile" begins with deceptive sparseness, adding neon swirls of stacked tremolo over a mesmerizing lyrical refrain, and hinting at the dynamism to come with understated grace and grit. "Always Here, Never There" is Fully Beat's first pure hit of melodic pop: its liquid bass groove winds beneath a melancholy-sweet synth hook and Leyda's plaintive vocals, while drummer Chris Natividad's deep, pillowy snare and propulsive style maintain a driving pace. Lead single, "Behind My Mouth", shifts gears into a big beat shuffle and howl of overdriven guitars, which relent to Gonsalves' rolling bassline and playful, snarky vocal. Composed across several weeks of experimentation, it is a prime iteration of Aluminum's meticulous world of sound, which nevertheless carries an air of wry nonchalance. Asking, "Do you ever see behind my mouth?", Gonsalves notes that the song "comes from a place of wanting to be understood authentically, and to communicate intentionally." This approach speaks to the album's broader theme of exhaustion amid the demands of the modern grind: working unfulfilling jobs to pay exorbitant rent, feeling society break at the seams, and trying to maintain a meaningful personal life with the remaining scraps of morale. The response, then, must be to find joy. These songs were crafted over a half-dozen months in basements and practice spaces, creating an abundance of authentic passion and catharsis that's as nostalgic and comforting as a cherished, tattered band t-shirt. The closer, "Upside Down", is a full-throttle blare of joyous release - "a straight-up love song," according to Leyda. The deliberate choice to end it with a gradual fade, rather than a dramatic climax, smartly suggests the ambivalence of acceptance - perhaps fitting, when considering the immensity of the album's subject matter. It also hints that there is much more to be said, and as such a rich and compelling debut, Fully Beat shows that Aluminum are only getting started.

Jonas Lundqvist's album "Den okända floden" has since its release in 2022 become one of Jonas' most popular albums. However, it hasn't been available on vinyl...until now! The album is a self-revealing theme record about losing yourself and your family - the one you come from and the one you got. Jonas has released six solo albums, five in Swedish, before that he was the founding member of the legendary Swedish rock band Bad Cash Quartet that he formed when they were only 14.

Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Fat White Family sind zurück. Das lang erwartete vierte Album der Kultband aus dem Süden Londons, Forgiveness Is Yours, hat sie, wie alles, was sie bisher gemacht haben, noch mehr an die Grenzen ihres kreativen Talents, hrer Gesundheit, ihres Verstandes und ihrer eigenen Existenz gebracht. Die äußeren Feinde haben sich aufgelöst - vielleicht waren sie die ganze Zeit nur Halluzinationen. Nach der Veröffentlichung von "Serfs Up!" zementierten Fat White Family ihren Ruf als archetypische britische Post-Punk-Band des 21. Jahrhunderts - und brachten eine ganze Generation von Außenseiter-Punkrock-Gruppen hervor, von Shame und Black Country über New Road bis hin zu Black Midi und Fontaines DC, ganz zu schweigen von ihrer berüchtigten Live-Show, die es irgendwie schafft, Empörung und Chaos mit Gelassenheit und Schönheit zu verbinden. Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Fat White Family sind zurück. Das lang erwartete vierte Album der Kultband aus dem Süden Londons, Forgiveness Is Yours, hat sie, wie alles, was sie bisher gemacht haben, noch mehr an die Grenzen ihres kreativen Talents, hrer Gesundheit, ihres Verstandes und ihrer eigenen Existenz gebracht. Die äußeren Feinde haben sich aufgelöst - vielleicht waren sie die ganze Zeit nur Halluzinationen. Nach der Veröffentlichung von "Serfs Up!" zementierten Fat White Family ihren Ruf als archetypische britische Post-Punk-Band des 21. Jahrhunderts - und brachten eine ganze Generation von Außenseiter-Punkrock-Gruppen hervor, von Shame und Black Country über New Road bis hin zu Black Midi und Fontaines DC, ganz zu schweigen von ihrer berüchtigten Live-Show, die es irgendwie schafft, Empörung und Chaos mit Gelassenheit und Schönheit zu verbinden. Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.