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Tig Notaro is an Emmy, Grammy and SAG Award-nominated comedian, actor, writer, director and podcast host originally from Mississippi, and named by Rolling Stone one of the 50 best stand-up comics of all time. She appears in Season 3 of THE MORNING SHOW on Apple TV+ alongside Jennifer Aniston and Reese Witherspoon, and STAR TREK: DISCOVERY on Paramount Plus. Tig recently starred in the Netflix films YOUR PLACE OR MINE and WE HAVE A GHOST, as well as Zack Snyder's ARMY OF THE DEAD. Prior to that, she starred in the heartwarming Paramount film INSTANT FAMILY alongside Mark Wahlberg and Octavia Spencer. Tig wrote, produced and starred in the semi-autobiographical Amazon Prime Video series ONE MISSISSIPPI, also directing the premiere episode of Season 2. The show yielded critical acclaim and several award nominations, including WGA, GLAAD and The Critics Choice Awards. Tig's HBO standup special, DRAWN, made history as the first-ever fully animated stand-up special, and was nominated for a Hollywood Critics Association Award. She was previously nominated for an Emmy and a Grammy Award for her 2016 HBO special BOYISH GIRL INTERRUPTED, a GLAAD Award nomination for the Netflix Original Documentary TIG, and her memoir I'm Just a Person is a New York Times Bestseller. In 2013, Tig was also nominated for a Grammy for her sophomore release, LIVE, which was the #1 selling comedy album in the world that year. LIVE is a stand-up set delivered just days after Tig was diagnosed with invasive bilateral breast cancer, from which she is now in remission. Tig remains a favorite on talk shows, including "The Late Show with Stephen Colbert" and "The Tonight Show with Jimmy Fallon", public radio, and continues to tour internationally. Tig and her wife, Stephanie Allynne, co-directed the feature film, AM I OK?, starring Dakota Johnson and Sinoya Mizuno, which premiered at Sundance and premiered on HBO Max in June 2024. Tig also hosts HANDSOME, a critically acclaimed comedy podcast, alongside friends and co-hosts Fortune Feimster and Mae Martin. Her newest special, TIG NOTARO: HELLO AGAIN, premiered in March 2024 on Prime Video.

One of the great enigmatic figures of jazz, Sun Ra's persona as philosopher, showman and space enthusiast often overshadowed his purely musical accomplishments as one of the most prolific and creative composers and big band leaders in the business. The current release contains one of Sun Ra's most exceptional and highly regarded albums of the 1950s: Jazz in Silhouette. Although the exact recording dates are unknown (no details were given on the original LP back cover, which included no liner notes at all) it was recorded in Chicago in late 1958. The Penguin Guide to Jazz would give Jazz in Silhouette the prestigious four stars accompanied by a crown, which is its highest rating.

Two seminal 12" mixes of a pair of Michael Wycoff heavy hitters from 1982. One a two-step favourite and one a Loft classic, these sought-after versions have never been paired on the same record.

Side A features the smooth-gliding anthem "Looking Up To You". The unmistakable snap of that sighing intro is unlike anything else. As such, it's no surprise that Leon Ware, celebrated master of the unexpected chord, has his fingerprints all over the track. Co-written with Zane Grey, "Looking Up To You" stands among the very best of Leon's staggering bank of compositions, both solo and with Michael Jackson, Minnie Riperton and Marvin Gaye. It's such an influential track, serving as the sample foundation of a massive top five R&B hit for Zhane in 1993, but it has never been bettered upon. Original 12" copies - if you can find them - go for over £50 today, making this side worth the price of admission alone.

If that wasn't enough, it's arguable that the B-Side wins again. A staple of David Mancuso's New York Loft parties, the Tee Scott mix of uplifting boogie gem "Diamond Real" is on another level entirely. A DJ legend of infamous clubs Better Days and Zanzibar and a trailblazing innovator, Tee Scott mastered the art of the reconstructive club mix.

For maximum destruction of discerning dancers, we've opted for here for his heavenly dub. 7 minutes of devastatingly slick dance floor dynamite, at once polished and dilapidated, its ecstatic charm is universal.

Devout lovers of modern soul have long worshipped the rapturous, sophisticated funk of Michael Wycoff. In combining that richly elegant voice, redolent of Donny Hathaway, with the production of keyboardist and arranger Webster Lewis, it's no surprise that both of these tracks became vital club classics of the early 80s R&B scene. Clear, full-bodied and bright - the 12" versions of these tracks are notoriously punchier than those featured on Wycoff's LP, and feature boomin' low end and neck-snapping drums. Buy on sight.

A new piece by minimalist / experimental composer PHILL NIBLOCK (1933 - 2024), co-composed and performed by ANNA CLEMENTI & THOMAS STERN. Intense, menacing layers of thick drones and alien sounds.

In summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that when the time has come for it), the other email was from ANNA CLEMENTI saying she and THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her … when "Zound Delta 2" was complete, PHILL sent photographs for the two artworks, we met twice to discuss details, but unfortunately he died unexpectedly early january this year so the album now is, sad as it is, a posthumous release … an intense goodbye from one of 20thcentury most iconic composers.

Phill Niblock

Phill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, Niblock's signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l'Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award.

Anna Clementi

Italian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and completed acting training before moving to Berlin and studying experimental vocal music and experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now UdK Berlin). Anna Clementi sees herself as an "actress of the voice" rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression, with which she is always searching for new connections between voice, gesture, language, dance and theater.

During her decades spanning career, Anna Clementi has performed at the most important festivals, has premiered numerous works, many of which have been composed especially for her, and worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski, Olga Neuwirth, Josef Anton Riedl, Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott Sharp, and many others.

A special focus of hers is the work of John Cage, whose pieces she has performed worldwide.

Thomas Stern

Born in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler and many more, on the road or in his own Sternstaubstudio.
credits:

Anna Clementi: voice

Thomas Stern: slide guitar, bass and soundprocessing

Composition by Phill Niblock, Anna Clementi and Thomas Stern

Recorded and mixed by Thomas Stern at Sternstaubstudio, Berlin

Mastering and lacquer cut: Kassian Troyer at D&M, Berlin

Cover photography by Phill Niblock

Layout and design by kaidoh

From Cape Town to Cairo, and now to fans, stages and screens around the world, PJ Morton shares his newest album, fully made in the motherland. Cape Town to Cairo is a collection of songs that he created in 30 days throughout 4 countries in Africa — South Africa, Nigeria, Ghana and Egypt. Described as the best trip of his life, this transformative journey began as just the seed of an idea last fall, but instantly grew into his most sonically-sprawling and immediately-inspired record to date. With no music, lyrics or preconceptions, he stepped foot onto the continent with two thoughts: a wild dream to write and record his next LP in less than a month, and a mission to immerse himself in as many different cultures, stories and communities as he could.

Surrounded by featured collaborators like Fireboy DML, Mádé Kuti, Asa, Ndabo Zulu, and Soweto Spiritual Singers, as well as additional producers including P.Priime and The Cavemen., his own live band and local musicians, PJ Morton used music as his common language. Always his greatest way of communicating, he expressed his feelings and experiences of Africa through songs he and others were forming together on the spot, side-by-side in different studios, cities and towns for the very first time. None of the tracks were written before he arrived or after he left, and the arrangements showcase both the countries’ native genres as well as the innate, stylistic instincts that have made Morton a 5x GRAMMY-winner and 20x GRAMMY-nominee, whether it be his soul, R&B and gospel roots, or the pop prowess he has further honed as a member of Maroon 5.

“When you’ve been in music as long as I have, you’re constantly looking for inspiration,” says PJ Morton. “And you’re looking for the things that made you want to do it in the first place. I’ve made albums every type of way you can think, so I wanted to try something I hadn’t done before. As a Black American who had never been to South or West Africa, I knew there was something there waiting for me. So I put a little pressure on myself to make a full record in a month, but I also said, ‘If I’m gonna go to Africa, I want to see Africa.’ We made music, but we also formed connections. We made new friends, and this is just the start.”

ESSENCE adds, "This trip is not just a physical move, it's a spiritual return…The soul of Africa pulses through every note he plays and every word he sings,” and VIBE adds that “the multi-faceted artist is fully embracing a new phase in his life.” Cape Town to Cairo marks PJ Morton’s first album since 2022’s Watch The Sun, which featured collaborations with Stevie Wonder, Nas, JoJo, Wale, Jill Scott, Alex Isley and more. Since then, Morton has become the first Black composer to write an original song for a Disney attraction, having just finished making the music for Tiana's Bayou Adventure, opening on June 28th, 2024 at Disney World and Fall 2024 at Disneyland. He also won his latest GRAMMY earlier this year, worked with Samara Joy on “Why I’m Here” for Regina King’s Netflix film Shirley, and landed a cover of his song “Don’t Let Go” as the soundtrack to Apple’s iPhone 15 commercial.

PJ Morton recently returned from headlining his debut shows in Asia, New Zealand and Australia, and announced an extensive Cape Town to Cairo Tour for North America summer and fall 2024. Following iconic performances at New Orleans Jazz Fest, The Kennedy Center, Roots Picnic and Newport Jazz Fest, Morton will embark on a run of more than 25 dates across the country, including New York City’s Beacon Theatre, Chicago’s Chicago Theatre, Nashville’s Ryman Auditorium, Los Angeles’ The Wiltern, and dozens of others.

On the heels of his headline tour and Maroon 5’s Las Vegas residency, PJ Morton will publish a life-spanning new book titled Saturday Night, Sunday Morning. The memoir sees him recounting and reflecting upon a trailblazing path that continues to defy expectations and straddle the tensions of music and faith, race and culture, expression and identity. As the son of two pastors and gospel artists, Morton grew up grounded by the sound of the Church, but soon found himself drawn to R&B, pop and soul, writing songs that the industry, his family and community struggled to understand. In the face of mounting pressure, rejection and constant miscategorization, he committed himself to a steadfast path of independence: making music on his own terms, launching his own record label, joining one of the biggest bands in the world while staying true to his New Orleans roots. The risks he took paid off, and through his transformation from preacher's kid to the busiest man in showbiz – performing everywhere from his local congregation to the Super Bowl, collaborating with everyone from his father to Stevie Wonder, Erykah Badu, Jon Batiste and Lil Wayne – he hopes to encourage readers and listeners to overcome obstacles as they seek their dreams.

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of "Crossing The Red Sea", The Adverts "Cast Of Thousands" has since been recognized as a lost classic of the time. TV Smith's cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert's bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield "Tubular Bells") the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV's best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear "Cast" for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on "My Place" or via the anthemic surge of "Television's Over", with TV's hook factory on full display on the anti-love song "Love Songs", and the band closing the album with the creeping ballad "I Will Walk You Home"; The Adverts had grown from a great punk rock band to a great rock band. Black vinyl.

(2018 Remix)

30. Juni 2022 – Im Januar 1977 veröffentlichten Pink Floyd ihr zehntes Studioalbum „Animals“. Das Werk eroberte Platz 1 der deutschen Charts, gilt als eines ihrer besten – und es wird nun, 45 Jahre später, als Deluxe Gatefold, CD, LP und Blu-ray wiederveröffentlicht. Zum ersten Mal überhaupt wird das Album in 5.1 Surround-Sound zu hören sein. Die einzelnen Versionen werden ab dem 16. September 2022 erhältlich sein, die Deluxe-Version folgt am 7. Oktober.

Pink Floyd – David Gilmour, Nick Mason, Roger Waters und Richard Wright – nahmen „Animals“ 1976 und Anfang 1977 in den bandeigenen Britannia Row Studios in London auf und produzierten auch selbst.

„Animals 2018 Remix“ wird als CD, LP (mit Klapphüllen-Artwork), Blu-Ray und als Deluxe-Gatefold-Format veröffentlicht. Die Deluxe-Gatefold-Version beinhaltet eine LP, CD, Audio-Blu-Ray, Audio-DVD und ein 32-seitiges Booklet. Die Audio-Blu-Ray und -DVD enthalten den Remix von 2018 in Stereo, in 5.1 Surround (beide von James Guthrie) und den ursprünglichen Stereo-Mix von 1977. Das 32-seitige Booklet gewährt mit selten gezeigten Fotos einen Blick hinter die Kulissen des Shootings für die Plattenhülle sowie Live-Bilder und Memorabilia. Das Album-Artwork wurde für diese Veröffentlichung mit einem zeitgemäßen Motiv neu interpretiert.

„Animals“ ist ein Konzeptalbum, das sich kritisch mit den sozialpolitischen Verhältnissen im Großbritannien der mittleren 1970er-Jahre auseinandersetzt und damit eine Abkehr vom Stil der früheren Arbeiten der Band markierte. Aus einer Ansammlung ursprünglich nicht miteinander zusammenhängender Songs entwickelten Pink Floyd ein Konzept, das den offenkundigen sozialen und moralischen Verfall der Gesellschaft beschreibt. Inspiriert von George Orwells „Farm der Tiere“, verbildlichen sie die menschliche Natur mit einer Analogie zum Tierreich und teilen die Menschen in drei Klassen von Tieren ein: Die Schweine stehen an der Spitze der sozialen Kette, die Schafe tun als hirnlose Herde, was man ihnen sagt, und die Hunde sind die Geschäftsbosse, die sich am Profit und ihrer Macht über andere schamlos bereichern. Seit 1977 ist viel Zeit vergangen – und dann wieder gar nicht, denn die Erzählung des Albums hat als Kommentar auf unsere gesellschaftliche und wirtschaftliche Situation nichts von ihrer Aktualität verloren.

Das berühmte Cover von „Animals“ zeigt ein aufblasbares Schwein (heute bekannt als Algie), das in luftigen Höhen zwischen zwei Schornsteinen der Battersea Power Station in London schwebt. Die Idee für das Cover kam von Roger Waters, die Umsetzung übernahm der langjährigen Kreativpartner der Band, Storm Thorgerson von Hipgnosis Studios. Für die jetzige Neuveröffentlichung wurde das Artwork von Storms Hipgnosis-Partner Aubrey „Po“ Powell für die heutige Zeit neu gestaltet. Basierend auf neuen Aufnahmen des Gebäudes während der jüngsten Umgestaltungsarbeiten (das ehemalige Kraftwerk wird für die kulturelle und gewerbliche Nutzung umgebaut, gestaltet von Frank Gehry und Norman Foster), experimentierte Po mit neuen Blickwinkeln und erschuf einige beeindruckende neue Varianten des berühmten Originals. Po dazu: „Das Original-Albumcover von 1977 ist ikonisch und steht so sehr für sich, dass ich eine Menge Respekt davor hatte, ihm ein Update zu verpassen. Doch Hipgnosis nahm die Gelegenheit zum Anlass, das Motiv neu zu fotografieren und damit eine sich verändernde Welt widerzuspiegeln. Durch den Einsatz moderner digitaler Färbetechniken konnte ich Pink Floyds düstere Botschaft des moralischen Verfalls beibehalten, und auch die Orwellsche Tier-Analogie in Form des Schweins Algie lebt in dem neuen Artwork fort.“

Pink Floyds „Animals 2018 Remix” kann ab jetzt hier vorbestellt werden.

A founder member of SOFT MACHINE, Kevin embarked on
a solo career in 1969, signing to EMI’s Harvest label, for
whom he would record a series of wonderful and
stylistically eclectic albums.
‘WHATEVERSHEBRINGSWESING’ was issued in November
1971 and saw contributions from David Bedford, Robert
Wyatt and Mike Oldfield.
Featuring such classic tracks as ‘Stranger in Blue Suede
Shoes’, ‘Song from the Bottom of a Well’ and
‘Whatevershebringswesing’, the album is regarded as one
of Kevin’s finest.
This new vinyl edition of this classic album has been
remastered from the original tapes and was cut at Abbey
Road Studios. It fully restores the original LP artwork.

The Ruins' eponymous EP (also known as the “gray record”) was originally released in the late spring of 1984 and in fact represents a significant moment in the Italian independent music scene of the early 1980s. The then contemporary burgeoning wave of entertainment music contaminated by experimental accents and conveyed essentially by electronic instruments saw the Ruins at the forefront. The band, essentially a duo, formed in Mestre (Venice) in 1978, had already carved out a window of national attention within the Italian new wave in 1981 with their first single “Short wave” and their participation in one of the very first (if not the very first) Italian new wave compilations entitled “Samples Only.”

Following this, between 1982 and 1983, there had been an important interlude in the evolution of the RUINS sound with the foundation of the quintet project (of which SPITTLE/DepenDance recently published an essential anthology titled “BRAIN FLAKES”). At the end of 1983, having concluded the group experience with the consequent and inevitable return to the original duo dimension the musical style further evolved putting even more emphasis on the unique blend of electronic sounds and almost black /soul influences of the new compositions that would later be collected in 1984 in the original version of E.P.

The duo's sound at that particular time was characterized by the innovative use of synthesizers and drum machines for unconventional song structures, which at the same time also encapsulated Ciranna and Pizzin's experimental ethos, thus allowing them to follow a parallel trajectory capable of maintaining a certain distance - while remaining somewhat related to - from the contemporary mainstream pop and the so-called ITALO disco strand.

Ultimately, this 1984 EP by the Ruins - of which Spittle DepenDance now offers a valuable reissue enriched with additional material from the period that has remained completely unreleased until now - is a testament to the band's innovative spirit and its role in shaping the Italian new wave scene, landing moreover to international acclaim and acclaim even over the following decades. With its mix of electronic experimentation and dark pop sensibility, it remains essential listening for fans of avant-garde pop music.

• Demon Records presents ‘Happy Nation’ the 1992 debut studio album by Ace of Base
• Ace of Base are one of the most successful pop groups who ruled the charts in the 1990s,
producing inescapable pop singles, including 10 UK top 40 singles
• Hits include; #1 world wide chart topper ‘All That She Wants’, alongside ‘The Sign’, ‘Don’t Turn
Around’, ‘Wheel of Fortune’ and ‘Living In Danger’
• This Reissue is pressed on 140g clear vinyl, with original artwork and printed inner sleeve

The Granada TV series of SHERLOCK HOLMES starring
Jeremy Brett as Sherlock was one of the most
successful series ever produced by Granada TV. The
series is still being shown all over the world and the
music from it is celebrated in this 40th Anniversary
Limited Edition DigiMIX Vinyl edition.
Patrick Gowers, the composer for the entire series
adapted and expended his themes from THE SIGN OF
FOUR, THE ADVENTURES OF SHERLOCK HOLMES and
THE RETURN OF SHERLOCK HOLMES to comprise the
tracks featured on this CD.
He conducted The Wren Orchestra, The Gabrieli
String Quartet and The St.Paul's Cathedral Choir
specially for the recording which was made at The
Abbey Road Studios in Digital.

Saxophonist Walter Smith III pays homage to his hometown of Houston, Texas on his sophomore Blue Note album, three of us are from Houston and Reuben is not, the follow-up to 2023’s return to casual. The album’s wry title signifies the lineup, which includes fellow Houston natives – pianist Jason Moran and drummer Eric Harland – while bassist Reuben Rogers, who hails from the Virgin Islands, rounds out the quartet. Together they enliven 10 compelling Smith originals and an imaginative rendering of a Sam Rivers composition – all of which speaks to Smith’s ascending status as one of modern jazz’s most engaging talents of his generation.

Klara Lewis' latest offering is undoubtedly a heartfelt tribute to her friend, mentor and former label boss, Peter Rehberg.

The opening track Thankful resides as a direct tribute to the track recorded under his PITA moniker, the timeless 'Track 3'. A track of which the impact has been vast and deep, still rattling the walls of the now enormous worldwide experimental electronic scene. Countless new youth carve and project wildly distorted melodic digital matter which all falls back with a knowing or unknowing wink back to this original ground zero monster. Klara's take on this is one that resides as a tribute to Rehberg with a cascading emotional melody gradually succumbing to a euphoric digital abyss. Thankful also comes across as a farewell gesture to her deceased friend with its beautiful, almost funerale tone. The abrupt ending is not only a method Rehberg would have relished but also a signifier of a life suddenly cut short.

Lewis was 21 when her first album Ett was released by Editions Mego in 2014. Now at 31 years of age Editions Mego is very proud to present Thankful, a profoundly mat

With a Yamaha organ and a dream, South African artist Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit "Mannenberg," and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed's electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.

This is the first full reissue of their 3rd album, from the original masters. Limited Edition

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.

"In partnership with Milan Records, Waxwork Records is proud to release KINDS OF KINDNESS (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by multi-instrumentalist, producer, and Oscar®-nominated composer JERSKIN FENDRIX. The album reunites Fendrix with director Yorgos Lanthimos following the breakout success of Poor Things, which earned the first-time composer an Oscar® nomination and marked Lanthimos’ first-ever collaboration with a composer. For Kinds of Kindness, Fendrix has crafted a soundscape rooted in solo piano and choral music, peppering the 22-track collection with hymnals throughout. Rounding out the soundtrack album are pop tracks like Cobrah’s “Brand New Bitch” and Eurythmics’ “Sweet Dreams (Are Made of This),” both of which were featured in the film’s trailers, plus a cover of “How Deep Is Your Love” by film star Margaret Qualley as well as a demo from Fendrix’s personal discography. Searchlight Pictures’ Kinds of Kindness is available in theaters now.

Similar to Poor Things, Fendrix began working on Kinds of Kindness with relatively few materials, utilizing only the film’s script, black and white photographs from set, and conversations with Lanthimos as a guide. This time around, however, Lanthimos provided Fendrix with specific guidance on instrumentation, instructing the composer to craft a soundscape rooted in piano and choral music.

“I love working with Jerskin, and I guess he’s the reason why I am now working with a composer – I’ve found someone that works for me,” says director Yorgos Lanthimos, continuing, “Jerskin worked on this in the same way he worked on Poor Things, which is before even seeing a frame of the film. I gave him the script and started sending him black and white pictures that I shot on set. Our agreement in the beginning was, ‘This time, I want to use piano and choir, and go down that direction,’ which was very different to Poor Things. When I went into the edit, he had this library of music that he created to work with, and it turned out great.”

Also helpful to Fendrix at the start of the project was a conversation with Kinds of Kindness star Jesse Plemons, who helped the composer wrap his mind around the complexity of Lanthimos’ triptych story.

“I was very lucky to go on set at the very beginning of filming, and I asked Jesse about the emotions because I was struggling to understand where so many of these characters were coming from,” composer Jerskin Fendrix confesses. “He spoke to me about his interpretation, and how he planned to embody his characters, which was great. I ended up thinking about the abstract space between the emotions and whether that space was empty or noisy. From there, I utilized the piano and choir to explore those spaces.”

Waxwork Records is thrilled to release KINDS OF KINDNESS as a picture disc featuring artwork and design by Vasilis Marmatakis housed in a crystal clear poly-bag.

ABOUT KINDS OF KINDNESS

KINDS OF KINDNESS is a triptych fable, following a man without choice who tries to take control of his own life; a policeman who is alarmed that his wife who was missing-at-sea has returned and seems a different person; and a woman determined to find a specific someone with a special ability, who is destined to become a prodigious spiritual leader."

CAR CRASH SET were one of the very few electropop acts coming out of New Zealand and have released several vinyls nationally between 1983 and 1986. Basically, the CAR CRASH SET consisted of synthesists/composers David Bulog and Nigel Russell and guitarist/producer Trevor Reekie, and was formed in late 1981, then still with Nick Jenkins on synths. They created such outstanding electropop songs with a Roland TR-606/808 and such lovely sequencing, – e.g. “Fall from Grace” is definitely a song that Anna will take with her into her grave – that it is indeed a shame that they didn’t receive more attention. Anyway, their 1983 12” ‘Two Songs’ (including “Outsider” and “Fall from Grace”) and the V/A ‘We’ll do our best’ LP (including CAR CRASH SET’s “Toys”) are at least highly collectible items amongst electropop connoisseurs and many people will be happy to see these tracks being available again as well as four previously unavailable demos from both their earliest and later days and seven more songs added to this CD version. CAR CRASH SET are currently recording again together though not only with the original Roland gear (“nothing else will do” as Dave once said): TR-606, Jupiter-4, MC-4, System 100m modular and System 104 sequencer as well as Nigel’s Korg MS20, Poly-61, Polysix and way more!

LP (3rd edition) features: limited edition of 317 copies, 180 grams yellow flame vinyl, A3 poster/revised lyrics sheet, sticker, revised hand-numbered double-sided postcard.

Originally released on 24th of August 2004 on Curb Records, twenty years later Tim McGraw's Live Like You Were Dying is being released on vinyl for the first time. Entering the Billboard 200 chart at number one with sales of 766,000 in it's first week of release culminating in over 4 million in sales. It was nominated for Best Country Album at the 47th annual Grammy Awards, with the title track nominated for Song of the Year and won in the categories for Best Country Song and Best Male Country Vocal Performance. Five singles were released from the album, all top 15 hits on the Hot Country Song Charts, with two number ones.

* A repress of an absolutle classic, this EP is one of the original Liquid Crystal masterpieces, lovingly remastered and rereleased! Nothing more needs to be said!

Haze'n'Fader return with a superb EP, a part two of their epic Amen 2 That series. The first one sold out within a few weeks, so this follow up is sure to fly out. Mixing various styles from various eras, each track is a deep dive into original old skool mayhem! Unmissable!

"Evolution" wasn't originally planned as an album. While writing Subjects tunes, it felt like certain tracks were naturally fitting together, and could be part of a bigger project. Still, Tony and Lee decided we should only do an album if it truly felt like something special - the best release we've ever done. Otherwise, we'd just stick to smaller EPs. Well, after many months of work, I think we've reached our goal. We're both incredibly proud of "Evolution" - and hope you all like the tracks as much as we do.

MAYBE TOMORROW, produced by legendary producer FRED RISTER (Ixell, David Guetta, Technolab, Snoop Dogg), is considered as one of the most-influential early trance-classics. The original 1995 vinyls are for sale on 2nd-hands sites for 350€ and plus.

A GREAT DAY, the track on the other A-Side of this 7”-single, is considered as another work of art of 2 FLYING STONES and was never released as a separate release.

Rick Holmes’ breath-taking track, ‘Remember To Remember’ gets its first ever officially licensed, remastered reissue on Gold Mink Records. With prices of the original topping £60 this one will be a welcome sight for many.

Title track, ‘Remember To Remember’ is a celestial, emboldening downtempo cut. Beginning with the timeless line, ‘Pass the information, extend the knowledge…’ Rick dives into a spoken word stream of inspirational black artists and key figures whose most memorable words and song titles are framed into snippets of wisdom that get ever more significant the greater in number they become. A powerful monologue, in Rick’s warm reassuring tones, shining a light on those men and women who have made ‘strong contributions to mankind because of their compassion and humanitarianism’, laid over instrumentation you lose yourself in just as easily.

‘Remember to remember, to never forget.
How Long… how long… how long will it take man?
For us to come together.
It will take us as long as you make it…’

Words that ring just as true today, as they did 40 years ago, yet with a new sense hope in the air and prospect of progress approaching.

The B side houses another of Rick’s mesmerising monologues – ‘To The Unknowledgeable One’ motivational, moving and smooth as you like.

Licensed from Uno Melodic Records, Inc, courtesy of Expansion Records.

Layton Giordani continues his rich vein of outstanding form with ‘Freaks at Night’.

‘Freaks at Night’ continues his adventures in sound. Unmistakably a peak-time record, the track still manages to traverse a rich ethereal energy, highlighted by an otherworldly synth line and striking vocal that sets it apart from so many. Teased in sets by Giordani and Beyer going back to last summer, this one’s hugely anticipated.


Four years on from Layton Giordani’s critically acclaimed ‘New Generation’ album, Space 92 – one of techno’s most impressive new artists – steps up for a fitting remix. A masterclass of techno futurism, the 2020 album was a defining release of that year and was an impressive marker of Giordani’s ever-evolving talents in the studio. The title track was a memorable highlight, mixing ambient textures with head scrambling synth effects make it an enduring dancefloor classic. One of techno’s future stars Space 92 has added his touch to ‘New Generation’. With very special results. The Frenchman has super-charged the original, adding in plenty of laser-kissed energy as a barrage of powerful chords and silky pads take the cut into steamrolling territory.

Season by season, we raise a toast to our artists and guests by creating a new collection of sounds. Cafe Soda Selects Volume One captures all the memories of the past year. The A-side starts with Crymes . The track captures the essence of summer with its vibrant dub rhythms and sultry 90s vibes, featuring irresistibly sexy vocals that embody pure feel-good energy. A2 sets the stage for Ben Balances , a vibrant track that seizes the eclectic energies of people, weaving together dynamic rhythms and the deep essence of souls. It is a musical journey that celebrates the unique spirit and rhythmic soulfulness inherent in us all. On the flip, check out the two originals from FMN, the latest project by Frag Maddin and Najeh. is a catchy groove that easily grabs every dancer with its rolling bassline. The song has no breaks, allowing ravers to stay in trance. With , B2 celebrates a raw house anthem with a memorable theme, thick kick, banging clap, and a wild hi-hat swing. An homage to the 90s powerhouse era.

Selector Series has really hit its stride with a rich vein of audio gold and following hot on the heels of Gene Harris’s ‘Losalamitoslatinfunklovesong’, they have unearthed yet another in demand gem with The Vibrations ‘Shake It Up’. It is remarkable to think that this re-issue marks the 50th anniversary of its original release in 1974. It then resurfaced as one of the biggest records soundtracking the mid ‘80’s London warehouse parties and rare groove scene. The epitome of modern soul, this 2-step masterclass sounds as fresh on today’s dancefloor as it did when tearing the roof of those all-nighters.

Co written by Bunny Sigler and arranged by Vince Montana, the swirling strings and distinctive percussive intro is guaranteed to uplift any dance and subsequently, Shake It Up found its way onto many a diggers wants list. Flipped with the mellower Thom Bell and Linda Creed penned ‘Make It Last’, here is your chance to own a pristine vinyl copy. As with everything on this label, buy on sight and spread the love.

Influential industrial pioneers Skinny Puppy welcomed audiences into the embrace of the seminal Too Dark Park in 1990. One of the band’s most influential records, it includes “Tormentor,” “Spasmolytic,” and more. In addition to praise from Vice and many more, Metal Hammer fittingly named it one of the “10 Best Industrial Albums,” and Spin summed it up best as a “return to the bloodbath.” A menacing and massive pastiche of H.P. Lovecraft-style cosmic horror, addiction, mental disarray, and the disintegration of nature, Too Dark Park remains a cataclysmic and chaotic classic through and through. Now available on vinyl for the first time in 30 years to celebrate the 35th anniversary since relea. Legends of electronic industrial music. Restored to original art on classic black vinyl. “10 best industrial albums - metal hammer”

A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves.

Jazz Room Records are pleased to release this special cover of the underground club classic "Hibaros" originally by B&G Rhythm (Donny Beck & Steve Gutierrez and featuring Bobby Lyle!) and after one listen you will agree that this is a must-check 45! Over on the flip is "Something Special", a Latin-tinged jazz-funk number that's every bit as essential as the floor rocking A-side.

Hot Piroski Records have been on something of a hiatus for the last year or so but now make a welcome return with a new EP series. This collaborative affair is the result of an epic journey in an old Mercedes from London to Gunjur and finds label head Robin 12Tree working with The Gambia and Bongo Koi as Gambian Disco Express. 'Enlightenment is Now' marks their first release on Hot Piroski Records and it comes with vocals from Gambian mystic Rev. Joseph N'Gole, recorded on the banks of the River Gambia. This one has already been hammered by Psychemagik, Pete Herbert, and Severino from Horse Meat Disco so it comes quality assured.

Combining the signature soundscapes of Scorn with tartareous textures, the current album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. 2024 vinyl version on orange coloured vinyl!

For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian

Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.

In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
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Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”

She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”

Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.

Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."

CO-OP REISSUE by NOT LOST RECORDS and RUGGER BUGGER !! ** Black Vinyl ** 500 Copies // The AK47's or the Tottenham AK47's formed in the late 80's / early 90's in North London. They turned up on the London squatting gig scene fully formed and ready to go, fusing punk, ska and reggae with a strong and simple political, socio-anarchist message. The band were instantly popular in London and sat very much next to Radical Dance Faction, Back to the Planet and Culture Shock. Their one and only release was the album "Don't call me Vanilla" which was originally released in 1991 by Rugger Bugger Discs. The album was recorded and produced at The Refuge studio in Reading by Jim Warren. Built around a solid dub-punk backdrop with some atmospheric flute squalls and FX's weaving in and out of the mix while lyrically remaining true to their anarcho roots. Over the years the album's legacy has grown and yet has never been reissued. Finally 32 years after its release the band, Sean from Rugger Bugger and Not Lost reissue this gem in an exact replica. No coloured vinyl - just black vinyl with the same Lyric Insert. This reissue has been remastered from the original tapes.

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions.

The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’.

‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction.

On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

2024 Repress

Pitch Black’s “Electronomicon”, a landmark album in New Zealand’s electronica scene, finally gets pressed on vinyl.First released in 2000, “Electronomicon” shows Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.

“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.

To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has remastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.