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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.

Come Play With Me and Breed Media are excited to present Come Play With Breed, Vol. 2. Featuring D5, Graft, Hannah Rowe and Mica Sefia, the 10” compilation spotlights the Northern Hip Hop and Soul scenes respectively. On the A-side, D5’s upbeat UK Rap opener, “What’s That”, is followed by Graft’s reflective Jazz-influenced Hip Hop track “Vows To The Art.” Hannah Rowe opens the B-side with an addictive fusion ballad for old souls. Finally, Mica Sefia closes the release with a powerful narration on her experiences as a black woman.

Artist Bios:

D5

Hailing from Leeds, West Yorkshire, D5 draws influence from the likes of Drake, Skepta and Brent Faiyaz and his sound flits between moody R&B and upbeat Rap that oozes a calm confidence. Elements of genres such as Garage, UK Rap and US Hip-Hop intertwine neatly to create his signature style. A style that crystalised on his 2020 EP Channel 5. Consisting of 8 songs, all helmed by producer and close friend CSHARP, the project is D5 at his most personal and led to the video for lead single ‘Silence’ premiering on Link Up TV and garnering him his highest streams to date. However, before ‘Channel 5’ D5 had created the EP If Only We Could Go Outside during the height of the pandemic. The track ‘Movies’ received airplay from the esteemed BBC Radio 1 Presenter Melvoin Odoom. With backing from the likes of GRM Daily and DJ Target spinning 2022 single ‘What’s Up’ on BBC Introducing, D5’s star is surely set to rise as he continues to develop his artistry. In addition to this, he has opened up for the likes of Novelist and fellow hometown hero Graft, proving with every successive performance and release that he is worthy of being a headline act.

Graft

Graft, winner of MOBO Unsung and BBC Three's The Rap Game UK, has propelled himself to national recognition for his unwavering sense of self and musical talent. Hailing from the vibrant city of Leeds, Graft’s topical and poetic approach to songwriting takes inspiration from genres such as Hip Hop, Neo-Soul, Jazz and Alternative Rap. This fusion of inspiration has seen him grace the stage at the acclaimed Reading and Leeds Festival, and has collaborated with esteemed brands such as Adidas, Virgin Media, Boohoo and Leeds United. Now with this national acclaim, Graft prepares for the release of his highly anticipated EP, Golden Child.

Hannah Rowe

Hannah Rowe’s emotional range transcends generations; the young singer writes about experiences and shifts in life, offering all listeners a sense of reflection within her rich, authentic, jazz-infused sound. Hannah is backed by a group of highly accomplished musicians who happen to be her adored closest friends. After finding one another at university, Sam Hughes on guitar, Luke Harrison on bass, Owen Moriarty on keys and Charlie Tanner on drums intertwined their varied influences to paint their own alluring and soulful sound - one difficult to define, but has been said to resemble the likes of Raye, Lianne La Havas, Moonchild and Yebba.

Mica Sefia

Liverpool born, Leeds-based future-soul Queen Mica Sefia endorses the interpretive nature of music as an art to be studied and related to by the public. Mica’s own exploration of self-expression solidified her passion in the production of a timeless and authentic style of music. Preferring to keep her lyricisms and narrative open to interpretation, Mica relates to a balanced approach to songwriting, in which her music remains subjective, but retains its emotive sensitivity. Mica’s music leans into the genres of Alt Soul, Rock and Jazz intertwining them to create atmospheric sounds and textured layers.

Introducing X-Ray Ted's debut album 'Moving On', a testament to years spent honing his craft and refining his signature sound. Seamlessly blending Funk, Soul, Hip Hop, Beats and Breaks, X-Ray Ted delivers a collection that encapsulates his diverse influences as both a producer and turntablist who is endlessly crate digging for hidden gems. From the infectious opening guitar riff to the final beat, it is clear that 'Moving On' promises an experience that is as engaging as it is dancefloor focused. Each track showcases X-Ray Ted's innate ability to re-interpret vintage sounds from decades past, offering listeners something that is both alluringly familiar and refreshingly new.

X-Ray Ted is not alone in creating his musical vision. He is joined by Hip Hop royalty in the form Jungle Brother's Afrika Baby Bam, Jurassic 5's Fullee Love (AKA Soup), and UK MCs Dr Syntax and Professor Elemental. Adding soulful depth and irresistible hooks to the mix are the vocals from fellow Bristolian Carys Abigail. Together, they effortlessly bridge the gap between retro 60's vibes and contemporary beats, creating something that is truly timeless, celebrating the past while embracing the future.




d 04: Get out the House (Dirty Version) feat. Afrika Baby Bam

Keep on Dancing EP by Marky Ramone's Blitzkrieg on 10-inch 45 rpm vinyl with four versions fresh out of the oven. Faithful to the essences, the band of the only Ramone still standing trims all the fat off the originals and makes every second count. High voltage. DESCRIPTION Marky Ramone needs little introduction. The only Ramone still standing was born in 1952 in Brooklyn and joined the band in 1978, replacing Tommy, and remained with the Ramones until they disbanded in 1996 (with a 1983-1987 hiatus due to personal problems). He is a restless person and has never stopped recording and performing live, either solo (MR & the Intruders, MR & the Speedkings) or in projects and collaborations (Joey Ramone, Teenage Head, Tequila Baby, Wardogs...). MARKY RAMONE'S BLITZKRIEG is the name of the band with which he has been touring the world for 15 years celebrating the Ramones' legacy, as well as adding some own-penned songs and some covers of other iconic punk rock bands to his repertoire. Over the years the line-up has varied, but in recent times the band has consolidated its position on stage with the resounding presence of Vitoria-Gasteiz's own Iñaki Urbizu "Pela" (La Excavadora, Victima's Club) as frontman and vocalist, and the Argentinians Marcelo Gallo and Martín Sauan (Expulsados) on guitar and bass. So, the time seemed right to transfer all the energy generated live to a 10" plastic EP. Four versions fresh out of the oven. Three tracks under two and a half minutes and one just over three minutes. True to the Ramones essence, they remove all the fat that was left over from the originals and make every second count. The Gentrys' "Keep On Dancing" opens the selection. The original track reached number four in the US charts in 1965 and, after passing through the hands of MARKY RAMONE'S BLITZKRIEG, classic Ramones covers like "Do You Wanna Dance" inevitably come to mind. The idea is easy, speed up the original a bit, in 4/4, and then play it faster. The hard part is that the result is so exciting and energetic. "It's Not Unusual", the Tom Jones hit, becomes maximum fun. The familiar, catchy tune is elevated to a whole new level of energy and intensity so that the chorus can be belted out loud. The Beatles' "Octopus's Garden", originally composed and sung by Ringo Star, is transformed into a playful punk-pop song to escape, if only momentarily, from the worries of the earthly world in the backdrop of a bar with a good sound system. Closing "New York, New York", the classic song from the Frank Sinatra songbook, celebrates New York City. It fits perfectly with Marky's identity as a native of the city, rooted in its culture and spirit, capturing the vibrant energy and rebellious attitude of the city that never sleeps. Some can cover hundreds of different songs and make them their own, and others can't. MARKY RAMONE'S BLITZKRIEG, like their originators, are certainly one of those who can. The band is just as comfortable with a colossal song as they are with a ditty, it's all about electric atmosphere and chemistry and, on each of these new recordings, the voltage is very high. One euro from the sale of each record will go to the victims of war. Stop the war!

INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.

''Sulla Rotta Dei Venti'' (On the Route of the Winds) is the brand-new album of Italian ska-jazz maestros North East Ska*Jazz Orchestra (NESJO). A collection of eleven own-penned original tracks, written and composed between 2020 and 2023, that frames a new chapter in the ten-year career of the band. In this record, NESJO bravely explores other worlds through music, which, as we know, is always also an inner quest. It is at the same time an effort to place their own music at the centre of the time and space in which they live, even at the cost of going beyond the stylistic limits linked to the band's chosen musical genre. Although, these new 11 cuts are built around rhythms that are undeniably of Jamaican origin, melodies are tainted with music from other traditions and sometimes also feature pop elements. Somehow, in this new album, NESJO has chosen to let the jazz big-band out of the orchestra pit and to mix with the popular sound of the street. Through the tracks of the record, NESJO creates mixed ensembles with the use of instruments such as strings, accordion, flute, clarinet, horn, tuba… together with the band's regular branding of sax, trumpets and trombones. Another novelty of this work is that the non-instrumental tracks are sung in Italian by the three singers Freddy Frenzy, Michela Grena and Rosa Mussin. And the musical journey takes us to exotic but at the same time very close sounds in 21st century Europe: Balkan (“Piazza Della Liberta”, “CiganSka #1”), Arabic (“Petrolio”), African (“Nimi Muzima”), Italian (“Roma Tokyo Paris”), and ska (“Donna Di Chi”) and a sophisticated ska-jazz suite (“Sulla Rotta Dei Venti”). The opening words of the first track of the album give us a glimpse of the feeling of vindication, brotherhood and hope contained in this set of songs: "Where is the empathy for those in difficulty / in the streets of Trieste that shout with vitality / indifference hearts of stone / dense black Balkan agony".

Fronted by vocalist/guitarist Taylor Madison, and with Jake Clarke on drums and Mike Paulshock on bass, Webbed Wing cement their place in modern rock supremacy across 10 tracks of fuzzed-out pop nostalgia on new album Vol III. One impossibly-catchy anthem after another, loaded with Madison's signature sardonic wit, makes for one of the most exciting alternative rock records of the year. Taking notes from the likes of The Lemonheads and Teenage Fanclub, "Further" opens Webbed Wing's new album Vol. III with a bang--in less than 10 seconds, we're all the way in with Webbed Wing as they expertly intertwine the vibrancy of modern pop, the heaviness of grunge, and the sincerity of country. Brazen and self-deprecating, "Burn It Down" finds Madison unpacking what it means to fly too close to the sun. Its mid-tempo mastery is a testament to the trio's connection as musicians and friends; everything about this song just works. Drawing inspiration from big country ballads and shoegaze gems alike, the song shows off a different side of what listeners can expect from Vol. III.

Having built a cult following with his live hardware performances and releases on Orson and Varial, Ninechecker disembarks for a solo EP displaying his versatility. The blistering A Very English Wind opens procedures, followed up by the evocative gliding dub of Antennas. On the Bside, shifting gears again with the Rephlex-informed menace of Curtain Twitcher and closing with the lush, woozy cassette ambiance of Proposal.

White labels, handwritten, numbered and limited to 80. Includes an A4 insert.

Lionheart is the sixteenth studio album by English heavy metal band Saxon, released in 2004. The title is inspired from Richard the Lionheart, a 12th-century King of England. ""Beyond the Grave"" was released as a single with complementary video. Lionheart is a pure heavy metal album -- the Saxon that old-timers know and love. Such standouts as the album-opening ""Witchfinder General"" and ""Man and Machine"" would not sound out of place on such earlier classics as Denim & Leather and Power & the Glory. Lionheart is available as a limited edition of 1000 individually numbered copies on gold colored vinyl and includes an insert. This special edition contains an additional and exclusive cover print.

A new album is finally on Drivecom. A 2xLp full of new tracks recovered and rearrenged around 2022-23. No doubt the legacy of the past works are represented. Some arpeggios and melody lines will remember us to sonic landscapes from the “La Hora de las Máquinas” or “The Source” albums by Boris Divider but with a new and refreshed production sound, for sure this will be a must item for all the electro community and fans of the label.

The album opens with the intro track “The Way You Feel Me” a mix between electro and synthwave with a moog bass and arpegio reminiscent of some Arpanet’s “Wireless Internet” tracks. Then followed for the “Letters From A Sleeper” theme. As the track’s name reflects, it's a clear tribute to the synth era of David Harrow/Anne Clarke’s “Sleeper in Metropolis” just like a reply from a postnuclear future, with a big role carried out by the initial synthline. Then the first slow bpm track is for “Distante” where synthlines a la Tangerine Dream are crossed and mixed with vintage digital rhythm machine sounds and the pattern seems to be taken from those Dire Straits’ “Money for nothing” intro drum arrange in an infinite and repetitive way.

In the B Side “You Know What I Know” track is again showing an Arpanet-ish intro synthline followed by a sequential prophet's arpeggio which bring us back to the old “La hora de las máquinas” sound. Closing the first 12 inch is “Sin Mirar Atrás”. One of the most important tracks of the album for the author. A big dimensional and introspective track full of vintage synthlines and reverb. Time for “Your Light” track is again here. This song was already presented with its own reference on Drivecom. A future pure Electro classic which was announcing the album months before.

In the same side, we find another slow tempo theme called “Recursos Infinitos” an instrumental track which implements several synthlines that interlink themselves into an infnite Tangerine Dream’s soundtrack that serves as a little break to the power and darkness of “Cenital”. Electro rhythm patterns and dark arpeggio synthlines in the vibe of Vangelis’ Blade Runner are mixed in this cold dystopian agressive dancefloor track. Later we find the theme that gives name to the album: “ Memories From The Dust” a slower track which mixes sounds and melodies between “La Hora de las Máquinas“ and other 80's digital keyboard sounds. The last track is just an outro theme called “Out of Sync”. Its name is a clear statement of its own musical arrangement, synthlines are full out of timing and synchro, it was recorded in realtime from a modular synth to a digital device in one take.

Whisky A Go Go 1968 wurde am 23.07.1968 erschaffen, als Frank Zappa in der ”Whisky a Go Go” Bar einen seiner legendären Live-Auftritte gab. Der Abend wurde per Audio aufgenommen - mit der Option, aus dieser Aufnahme irgendwann ein Live-Album zu veröffentlichen. Obwohl bereits einige Ausschnitte veröffentlicht wurden, gab es das komplette Live-Album bisher nicht. In dieser lang ersehnten, 2023 neu-gemixten Edition sind endlich alle 3 Sets in voller Länge verfügbar, als 3CD und 2LP Edition.

A1 - String Theory
Senses arrives on Curvature in epic form, String Theory opening with a memorable pad melody before the track bursts into life with a stunning amen workout - edited and chopped impeccably with finely honed skills from a storied history in drum & bass. A subtly pleasant female vocal graces the track in the breakdown as a cacophony of melodies dance around in the mix, before the amens rip back to the forefront in style.
A2 - Cosmic Telemetry
Continuing a fine exploration of sounds of yesteryear, Cosmic Telemetry showcases a delicately jazzy vibe with breaks that hark back to classics such as Planetary Funk Alert, modernised with an atmospheric twist. Rolling out with a plethora of familiar samples and keys as synths elevate and rise in the backdrop, Cosmic Telemetry is an elegant pastiche for the ears and the dancefloor alike.
AA1 - Papillon
Clean old school breaks introduce Papillon, an earthy track with deep room-filling bass underpinning tight analogue drums, playfully decorated with an assortment of wavy synths, horns and flutes, plinky melodies and delicious female vocal samples in the breakdown before Senses subtly edits the breaks as a voice declares "I'm all yours" to synths pitching up and down at will to great effect.
AA2 - Past Lives
Closing the EP on an intensely atmospheric tip, Past Lives is full of heavily reminiscent rhythms from the classic 90s atmospheric era with sharp drum samples and ethereal synthwork that transport you to a nostalgic dreamscape, seamlessly blending the past and the present with classic 808 basslines and fluid, harmonious strings that perfectly complement the dramatic, all-encompassing padwork.
Words by Chris Hayes (Spatial / Red Mist)

Cetu Javu was a German synth-pop band lead by singer Javier Revilla Diez and synth wizard and composer Chris Demere. They started with the band in 1984 and in the spring next year surprisingly reached the third place in a young talent festival in Hanover. Several other shows followed but the highlight was a concert in December of 1986 as the opening act of Erasure. Their first maxi single “Help Me Now” was released in the spring of 1987 on their own label’s. Through the mediation of Talla 2XLC, Cetu Javu got a record contract with major company ZYX Records and released their debut album “Southern Lands” in 1990.

When the song “A Dónde”, a B-side sung in Spanish included on the single “So Strange”, hit number two in Spain, the band surprisingly achieved a great success and toured all this country. The second full-length, “Where Is Where”, was released in 1992 in Spain. The success did not stop here and led Cetu Javu became very popular in some other countries such as Argentina and Mexico. Unfortunately, in 1994, between problems and having to make decisions about the future, the group withdrew from the music scene and each member moved to focus to other activities.

“Where is Where” is re-released contains the original album along with some extended versions and remixes from the singles “¿Por Qué?”, “Dame Tu Mano” and “Una Mujer”. Limited edition of 500 copies on gatefold sleeve and a poster.

A lost solo piano record from the Night Tripper! Originally put to tape in ‘82 & ‘83 for the Clean Cuts label, these tracks have remained unheard until now.

Two numbers feature the doc's raspy growl while his solo piano navigates us through the rest of the train ride, past touches of blues, jazz, and foot stompin’ boogie-woogie jive. It's the kind of magic that can only come from a dusty tape box.

In 1981, Dr. John began recording his first of two solo piano albums. The “new” performances featured on this release are of the same quality as the music on Dr. John Plays Mac Rebennack and The Brightest Smile In Town.

His left hand creates a three-note rhythmic pattern that forms the foundation for the performance while his right soulfully plays the melody and then builds off of it in the tradition of the New Orleans piano blues masters. In other songs, it begins as a nostalgic and heartfelt ballad, picking up steam during the performance and switching moods several times before returning to where it began.

While it is a real shame that he would never again record a full album of unaccompanied solos (Dr. John enjoyed leading a band too much), the release of Frankie & Johnny gives one an additional opportunity to discover just how brilliant and spirited a pianist Mac Rebennack was during his colorful career.

Over the last 20 years, Portland, Oregon's Federale has carved out a unique niche within the indie music landscape, blending their signature spaghetti-Western instrumental sound with increasing doses of moody vocal arrangements in the spirit of Lee Hazlewood or later-period Leonard Cohen. Still, through it all songwriter (and lead singer, when there is one) Collin Hegna has maintained a strictly retro vibe, and Federale's records have always sounded period-correct for an alternate-universe 1971 where rock and roll never caught on.

Reverb & Seduction, Federale’s sixth studio album, marks the band’s 20th anniversary, and finds them beginning to color outside those Ennio Morricone lines. Perhaps Hegna—who also spent the last 20 years as a dues-paying member of The Brian Jonestown Massacre—has finally decided to give his psych-rock alter ego a seat at the Federale table.

“Before, I'd have an idea and think, ‘Well, that can't be a Federale song’, because it had distorted guitars or whatever,” says Hegna. “But then I thought, 'Well, why not?’” This openness to a broader palette of influences allows Reverb and Seduction to veer into psychedelic and even gothic territory—think Love and Rockets or Sisters of Mercy—that the 2010s Federale might have considered off limits.

The album's first single “Heaven Forgive Me,” for example, draws on Goblin (the Italian prog-rockers who scored Suspiria) and perhaps even a little Depeche Mode, while “Advice from a Stranger” borrows the fuzz and feedback of DIG!-era BJM and The Electric Prunes.

Julian Cope's second album of 1984 - Never re-pressed in its original format, this re-issue faithfully replicates the original Mercury Records UK release with poster, and is pressed onto high quality 180g vinyl. Fried is one of Julian Cope's boldest. It made many think that after a while teetering on the edge, Julian Cope had finally tipped over into an artistic madness, amplified by his wearing a turtle shell and staring at a toy van on a landscaped spoil tip in Warwickshire on the album's sleeve. Opening track Reynard The Fox added to it all, a six-minute psychedelic garage rock tour-de-force, breaking down to a Cope monologue where he gravely intones English folk tales from his vantage point, referring also to an onstage stomach-slashing incident from 1983. Sunspots, the sole single taken from the album, is one of his greatest recordings in a career that spans over 40 years. Fried is up there with some of the very best works of the singular British eccentric.

This 2020 film has already become an indie classic, and it’s taken on a timeliness that its creators could not have foreseen. Teenage Autumn has to flee her rural Pennsylvania town in seach of an abortion, leaving behind her abusive partner, her indifferent parents (singer Sharon Van Etten plays her mother), and her callous community as she embarks on a journey to New York City accompanied by her cousin Skylar. No matter your stance on the subject, Autumn’s harrowing odyssey provokes compassion and contemplation, two states of mind in short supply these days. And accompanying Autumn every step of the way on her journey is the mesmerizing and, at times, achingly sad score by cult favorite composer Julia Holter. So much of the film is made up of shots of Autumn’s face as she attempts to process what is happening to her and around her; seldom has a film score captured a character’s interior monologue with such insight and grace. Never before released in any physical format, we at Real Gone Music are proud to present the soundtrack to Never Rarely Sometimes Always on vinyl, with the full consent and cooperation of Julia Holter.

"Enjoy The Ride Records in conjunction with Paramount Pictures proudly present Rolfe Kent's score to Election (Music From The Motion Picture).

Reese Witherspoon is Tracy Flick, a straight ""A"" go-getter who's determined to be president of Carver High's student body. But when popular teacher Jim McAllister (Matthew Broderick) observes the zealous political locomotive that is Tracy, he decides to derail her obsessive overachieving by recruiting an opposition candidate (Chris Klein) - with disastrous results! Here's a smart, witty, and hilarious jab at high school politics helmed by award-winning director Alexander Payne (The Holdovers, Sideways)."

While most of the bands (Orpheus, Ultimate Spinach, Beacon Street Union) associated with producer Alan Lorber’s “Bosstown Sound” signed with MGM Records, Listening recorded their only album in 1968 with Vanguard. And it’s a highly prized one, at that, with original copies selling for triple figures. One reason for that is, unlike many of their more poppy Boston-based peers, Listening boasted an original, swirling, hard-edged sound, full of jazzy and even proggy passages, and keyboardist/singer/ songwriter Michael Tschudin’s lyrics were openly countercultural. That’s future (post-Lou Reed) Velvet Underground member Walter Powers on bass, and blues wunderkind Peter Malick on guitar. A talented band, underappreciated at the time… in other words, right up our Real Gone alley! Coke clear with yellow swirl vinyl pressing, limited to 700 copies. First U.S. reissue!

“Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley.

The alto saxophonist was a member of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breath-taking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic.

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.