Search:original sin

Limited edition to 500 copies vinyl + 16 pages comic.

Record Kicks presents the reissue of the rare and in-demand Calibro 35 EP Dalla Bovisa a Brooklyn on vinyl. The EP includes an original Calibro 35's comic and is limited to 500 copies, which makes it an instant collector's item.

Originally recorded in 2012 in Brooklyn during the sessions for their third studio album Any Resemblance, Dalla Bovisa a Brooklyn (literally 'from Milan's district Bovisa to Brooklyn') came out in that same year as a limited edition 10". The EP contained an original comic by Italian gurus Gianfranco Enrietto and Marco Philopat that tells, between reality and fiction, the experience of Calibro 35 in the Big Apple. Rapidly gone out of stock, the original copies are rare to find and change hands for big money amongst record collectors and Calibro fans. Following the re-release of the first 3 Calibro 35 studio albums, now also Dalla Bovisa A Brooklyn sees the light again on the superior 12" format that includes a restored colored version of the original 16 pages comic. From the opening "Broccolino funk" to the last track, the 6 minutes of the afro-funk winner "Bushwick, Nigeria", on the six tracks on the EP the band sounds as groovy as ever, serving another funk-filled journey, full of fuzz guitars, distorted organs and brooding bass lines.

Active since 2008, Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their thirteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionadosin every corner of the planet.

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.

After spending some time on the Adriatic coast of Croatia, Fred wrote his 2018 album Long Way Home. Barbarella was one of the songs on the album. It was inspired by a morning set he did at Barbarellas, the infamous outdoor venue in Tisno. The kitsch disco vibes are also a wink to the cult B-movie of the same name. But it was the 7am in Tisno mix, featured on the alternate version of the album No Way Home that made the song popular.

While there was no plan to release it as a single, Fred had the idea to contact I:Cube, one of his all-time favourite producers, to see If he would be interested in remixing it. The process took a little while but thanks to confinement, with more available time in the studio, the I:Cube Parisian Sleeze Version was born. Taking only a few elements from the original, he completely rearranged the track into a modern disco classic as only the Cube can do. This is one of those cuts that gets better every time you hear it.

On the B-side, Fred’s Slow Down 2021 Version expands on the Balearic vibe at a slower tempo. Sounding a little bit like Sade on acid, with added samples from the 1968 Jane Fonda movie.

For the first time ever this 27 track double album collects all of their singles on Red Rhino and Beggars Banquet/Situation Two on Vinyl. A mandatory compilation that also includes the bonus 7 inch originally appeared on the first ltd version of the 1986 album ‘Paint Your Wagon’ (Paint Your Wagon/More Jipp), an alternative and harder rendition of ‘Beating My Head’ (originally appeared o the Ep ‘This Today’) and ‘Russia’ from the 1984 Ep ‘Hollow Eyes’. Red Lorry Yellow Lorry were one of the most successful independent bands of the 80’s with their dark and often manic rhythms.

‘Archive Series Volume no. 5: Tallahassee Recordings’ is the lost-in-time debut
album from Iron & Wine. A collection of songs recorded three years prior to his
official Sub Pop debut, ‘The Creek Drank the Cradle’ (2002). A period before the
concept of Iron & Wine existed and principal songwriter Sam Beam was studying
at Florida State University with the intent of pursuing a career in film.
‘Archive Series Volume no. 5’ documents the very first steps on a journey that
would lead to a career as one of America’s most original and distinctive singersongwriters. ‘The Creek Drank the Cradle’ arrived like a thief in the night with its
lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee
comes with a strange sense of confidence. Perhaps an almost youthful discretion
that likely comes from being too young to know better and too naïve to give a
shit.
The recordings themselves are more polished than ‘The Creek Drank the Cradle’
and give a peak into what a studio version of that record might have offered up.
‘Archive Series Volume no. 5’ was recorded over the course of 1998-1999 when
Beam and future bandmate EJ Holowicki moved into a house together. Beam
had not been performing publicly however, he was known for playing an original
song or two in the early morning glow of a long night. Holowicki - also in the film
program and who would go onto a career as a sound designer at Skywalker
Sound - had a mobile recording device and after some prodding convinced his
friend to record these late-night meditations.
Together they would record close to twenty-four songs, ideas and sketches, with
EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings -
all captured in the house where they lived - have a ‘live in the room’ feel akin to
say Neil Young’s ‘Harvest’ or Nick Drake’s ‘Five Leaves Left’, rather than the
homespun lo-fi 4-track home recording experiment taking place at the time.
These recordings, minus one track, have never been made available and were
instead left preserved on a hard drive for the last twenty years. The one track
that floated out there, called ‘In Your Own Time’ was shared without a title to
childhood friend Ben Bridwell (Band of Horses) at some point. The song became
known as the ‘Fuck Like A Dog’ song and Ben shared it with more than a few
folks during the golden era of mix CDs. Two of those folks were Jonathan
Poneman from Sub Pop and journalist Mike McGonigal, who included it on his
best songs of 2001 mix CD, passed out to friends and acquaintances. And for
many that is where the Iron & Wine story begins, until now.
‘Archive Series Volume no. 5’ is the foreword to your favourite book that you’ve
somehow skipped over time and time again. It’s an alternative history mixed with
some revisionist history told over the course of eleven songs. It’s also the debut
record by Iron & Wine some twenty years after the fact.

Southern soul singer Z.Z. Hill was Kent/Modern's main artist in the latter half of the 60s. In 1967 the company recorded him on an LP of soul classics and rightly chose Bettye Swann's hit from only a few months before as one of the tracks. The label may have missed a commercial trick as his male-angle on the marvellous song gave it a new dimension and would surely have fared well as a 45. The UK licensors Action Records spotted the song's potential and it was well received, although the much smaller UK soul market of the time could rarely achieve big sales. Since its release more soul fans have become aware of its quality and at last it is available again for discerning collectors.

Peggy Woods' classic Northern Soul stomper was first on 45 in 1988 as a 100 Club anniversary single. With only approximately 400 pressed it was inevitable this and other such singles would become sought-after. Here is Peggy in her original glory singing her Kent/Modern masterpiece.

Formed in 1977 by Tomata du Plenty (vocals), Tommy Gear (synthesizers, vocals), David Brown (electric piano) and KK Barrett (drums), the Screamers were deeply linked to Los Angeles' first wave punk scene, yet their music and high-energy performances stood apart – defying classification and evoking intense audience reactions.

"These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto.

The Screamers concept was simple, yet audacious: take the spirit and the look of Punk – the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism – and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational – to evoke (as Tomata described in an early interview) a state of anxiety.

Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' – perhaps their peak moment, recorded at Target Video in August 1978 – has now passed over 650,000 views online. This is the Screamers' time, and the time is now."

– Jon Savage (excerpt from the liner notes)

Super cool Jazz score by Michel Magne in the vein of Take Five, Super Rare too, original copies fetching £250 and upwards.

Anyone who was into the last Jazz Room single release of Take Vibes -"Golden Brown" is going to want to get their hands on a copy of this.

Regularly featured on Worldwide FM's Jazz Guru Gilles Peterson's playlist this is a must buy.

Limited pressing, don't miss out.

The fourth Peter Murphy album Holy Smoke contained the single "The Sweetest Drop" which made it onto the modern rock charts. It was an elegant follow up to Deep with crisp production by Mike Thorne. As written in the original press release for the album, "You can't pin down HOLY SMOKE, it curls and eddies in white and blue swirls, drawing a series of patterns on the brain, but just when an image begins to come into focus, the music mutates into something hypnotically new".

Eurovision Song Contest: The Story of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star.

“Volcano Man” was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a “Song-A-Long”: producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little bit of The Black Eyed Peas. The cherries on top are vocal cameos from former Eurovision champions: Conchita Wurst, Netta, Jamala, Loreen, and Alexander Rybak. The album also features the cult hit “Jaja Ding Dong”, also performed by Ferrell and Sandén.

Brilliant second album from the wholly original cult Sheffield post punk band. Released in 1983 on Red Flame ‘One Afternoon In A Hot Air Balloon’ is an adventure on its own. Artery somehow replaced the somber post-punk of the debut with a stream of melancholic pop paeans influenced by british folk and certain ballroom dances, with a spectral keyboard sound worth killing for. The secret weapon - when compared to the rest of their discography - is largely explained by the presence of keyboard player and (by now) main composer Christopher Hendrick. The band was in fact reduced to a trio with former members Mark Gouldthorpe (guitar) and Garry Wilson (drums) now supported by the singular effort of Hendrick (also on bass and xylophone). At the same time Garry Wilson was playing in an early incarnation of Pulp. Despite the early Joy Division influence - which the band firmly dismissed – Artery is moving forward into the so-called new romantic era. A vaudeville scenario light years ahead from the streets and the aggro-culture, a way to some pleasant and revealing experience.

‘This Is Telex’ is a brand-new compilation collecting 14
tracks from the innovative Belgium trio, covering their
career from formation in 1978 up to the final album in
2006.

This compilation includes the hit single ‘Moskow
Diskow’ as well as their Eurovision Song Contest
entry, aptly called ‘Euro-vision’.
There are also two wonderful and previously
unreleased tracks unearthed from the Telex archive, a
cover of The Beatles’ ‘Dear Prudence’ and a
reinterpretation of a Sonny & Cher track called ‘The
Beat Goes On/Off’.

All the tracks were newly mixed and remastered from
the original tapes by band members Dan Lacksman
and Michel Moers, keeping all the tracks in the spirit of
the originals but adding a freshness to them.
This compilation sets the way for a comprehensive
reissue campaign of the entire Telex catalogue.
CD in card pack with 12-page booklet.

Coloured vinyl 2LP (side A/B is shrimp pink vinyl, side
C/D fern green vinyl) housed in a gatefold cover with
printed inner sleeves with notes by David Stubbs, plus
digital download code.

Tape packaged in pink case with a green shell, plus
digital download code.

The Süddeutsche Zeitung hailed Johanna Summer’s performance
at the Young Munich Jazz Prize in 2018 as “a small sensation.”
The pianist, born in Plauen in Saxony in 1995, had encompassed
the whole gamut, from jazz freedom to classical rigour. The critic
from this respected newspaper marvelled at her “amazing gift to
make well-known melodies sound so convincingly her own, they
develop a real sense of creative urgency.” Summer’s winning of
the prize itself became almost incidental; far more significant was
the fact that this competition heralded the arrival of one of the
most interesting new pianists in European jazz.
For her debut album, Summer has chosen to make compositions
by Robert Schumann the point of departure for her journeys into
pianistic fantasy. Schumann’s cycles of piano pieces
‘Kinderszenen’ (scenes from childhood) and ‘Album für die
Jugend’ (album for the young) had been familiar to her since
childhood, not just as player and listener but also - because
Schumann was from nearby Zwickau - as works by someone from
her region of Germany. From an early age she was enchanted by
both the melodic and the pictorial aspects of these short pieces.
And yet, to make her own adaptations of seven of the pieces was
a far from a simple task: “I worked for a long time on re-casting
them, trying out all of the pieces in all keys and in a lot of different
time signatures, creating several miniature interpretations and
finally arrived at this selection, which I shaped into a cohesive
sequence with a single arc.”
The depth of her involvement with the original Schumann pieces
comes across strongly on the album. As does her impressive and
complex personality as a jazz musician with a very wide range of
expression: romantic passages and an instinct for melody but also
powerful grooves and exciting innovations. And all imbued with a
sense of how to tell stories through music, a mature and clear
vision of dramaturgy, dynamics, tension and atmosphere. A
sentence written by Schumann seems to predict exactly the kind
of new life that Johanna Summer has breathed into these pieces:
“How infinite is the realm of forms, with everything that can be
used and worked on for centuries to come.”

Beggars Arkive announce vinyl reissues for all five Peter
Murphy solo releases on Beggars Banquet, plus the release of
a brand-new rarities album titled ‘The Last And Only Star’. Each
album is pressed on coloured vinyl. The albums will be released
in three batches of two.
Peter’s third solo album saw him break wide open with his
biggest hit, ‘Cuts You Up’, which is often included in lists of the
greatest alternative singles. Propelling him into mainstream
stardom, ‘Deep’ also had two additional fantastic charting
singles - ‘The Line Between the Devil’s Teeth (And That Which
Cannot Be Repeat)’, ‘Cuts You Up’ and ‘A Strange Kind Of
Love’. Again produced by Simon Rogers, the critically
acclaimed album is still a fan favourite. Pressed on clear vinyl.
The fourth Peter Murphy album, ‘Holy Smoke’, contained the
single ‘The Sweetest Drop’, which made it onto the modern rock
charts. It was an elegant follow up to ‘Deep’ with crisp
production by Mike Thorne. As written in the original press
release for the album, “You can’t pin down ‘Holy Smoke’, it curls
and eddies in white and blue swirls, drawing a series of patterns
on the brain, but just when an image begins to come into focus,
the music mutates into something hypnotically new.” Pressed
on smoky vinyl.
Peter Murphy’s solo career began in 1986 with the release of
‘Should The World Fail To Fall Apart’ and continues to this day.
In addition to his work as the frontman of the legendary and
ground breaking Bauhaus, he has released ten solo albums, in
addition to several live releases. Over the last few years, he
staged several multi-night residencies where he performed a
different album each night. He also recently reunited with his
Bauhaus bandmates for shows.

Beggars Arkive announce vinyl reissues for all five Peter
Murphy solo releases on Beggars Banquet, plus the release of
a brand-new rarities album titled ‘The Last And Only Star’. Each
album is pressed on coloured vinyl. The albums will be released
in three batches of two.
Peter’s third solo album saw him break wide open with his
biggest hit, ‘Cuts You Up’, which is often included in lists of the
greatest alternative singles. Propelling him into mainstream
stardom, ‘Deep’ also had two additional fantastic charting
singles - ‘The Line Between the Devil’s Teeth (And That Which
Cannot Be Repeat)’, ‘Cuts You Up’ and ‘A Strange Kind Of
Love’. Again produced by Simon Rogers, the critically
acclaimed album is still a fan favourite. Pressed on clear vinyl.
The fourth Peter Murphy album, ‘Holy Smoke’, contained the
single ‘The Sweetest Drop’, which made it onto the modern rock
charts. It was an elegant follow up to ‘Deep’ with crisp
production by Mike Thorne. As written in the original press
release for the album, “You can’t pin down ‘Holy Smoke’, it curls
and eddies in white and blue swirls, drawing a series of patterns
on the brain, but just when an image begins to come into focus,
the music mutates into something hypnotically new.” Pressed
on smoky vinyl.
Peter Murphy’s solo career began in 1986 with the release of
‘Should The World Fail To Fall Apart’ and continues to this day.
In addition to his work as the frontman of the legendary and
ground breaking Bauhaus, he has released ten solo albums, in
addition to several live releases. Over the last few years, he
staged several multi-night residencies where he performed a
different album each night. He also recently reunited with his
Bauhaus bandmates for shows.

It Bites fourth studio album ‘The Tall Ships’, originally released in 2008, will be getting a remastered reissue, with the album available on a new CD format, as well as for the first time ever on vinyl. Featuring a new remaster from John Mitchell, the CD edition also includes 2 bonus tracks as well as an additional booklet of liner notes written by the band. The vinyl will arrive as a Gatefold 180g 2LP+CD set including an LP-booklet and the bonus tracks on the CD. ‘The Tall Ships’ was the first It Bites album to feature singer & guitarist John Mitchell, and the bands first new music in nineteen years.

Part of Ernesto Chahoud’s ‘Middle Eastern Heavens’ album series, BBE Music reissues Lebanese composer Ihsan Al-Munzer’s 1985 masterpiece ‘Sonatina for Maria’. Al-Munzer’s sixth solo release, the first entirely composed of his own original works, ‘Sonatina for Maria’ takes a step away from the sound of his earlier ‘Belly Dance Disco’ album (reissued by BBE in 2020). This innovative library album features eight synth-driven instrumentals that effortlessly flow through psychedelic pop, cinematic soundtracks and disco music. Taking in a range of styles, the album illustrates Al-Munzer’s skill in composition and arrangement that saw him become one of the busiest arrangers of Lebanon’s 1980s pop scene. The record goes deeper into the Western rhythm Al-Munzer explored at the beginning of his career and brought to his Middle Eastern fusion productions, with the synthesizer still taking centre stage, and the electric guitar, bass and drums ever more present. When Al-Munzer entered Copenhagen’s Sun Studio in 1985 to record ‘Sonatina for Maria’, the composer thought it would be his last ever album. Diagnosed with mouth cancer, he had travelled to Denmark for treatment and decided to make one final work while awaiting his operation. The composer wrote the record during a particularly challenging period in Lebanon too – the country was buckling at its knees: destroyed, bankrupt and beaten after 10 years of civil war. “When I made the album, I had a sad feeling because of the war in Lebanon and it was hard for me to be away from my country at that time” reflects Al-Munzer. Hence, the album has a particular originality and energy across its eight tracks, wrapped up in melancholy and nostalgia for a troubled homeland, as well as showing a lust for life. Dedicated to his then five-year old daughter, title track ‘Sonatina for Maria’ is an up-tempo disco instrumental with a classical theme. Several pop ballads feature on the album, as well as trippy 1980s TV-style soundtrack ‘Dindolo’ and Arabic disco instrumental ‘Mishwar’ (Picnic), revolving around a punchy Middle Eastern melody. The album includes the main theme from the 1983 Lebanese film ‘Al Makhtouf’, one of three films for which Al-Munzer wrote the soundtrack. Directed by Clauda Akl, the film starred iconic Lebanese singer and actress Sabah. ‘Streets of Beirut’ captures the atmosphere of the Lebanese capital’s deserted streets in wartime and the album closes on fast-paced Euro-disco instrumental ‘Gipsy Nights’. Al-Munzer’s five releases from the 1970s and 1980s are part of BBE Music’s Middle Eastern Heavens reissue series, a collection of ground-breaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud. Notes by Natalie Shooter, edited by Will Sumsuch.

Das kanadische Rock/Metal-Crossover-Quartett SUMO CYCO bricht mit seinem dritten Album und Napalm Records Debüt Initiation in eine explosive neue Ära auf - und lädt die Fans in ihre schräge, dystopisch
anmutende Welt von ”Cyco City” ein! Gespickt mit mitreißenden Heavy-Metal-Grooves, poptauglichen
Hooks, elektronischen Elementen und einer Prise Punk bricht Initiation alle Regeln und liefert ein zusammenhängendes und dennoch ungezügeltes Hörabenteuer.
Wie schon die Vorgänger Lost in Cyco City (2014), Opus Mar (2017) und unzählige Singles basiert Initiation auf dem fantasievollen Schauplatz ”Cyco City” und baut auf dem Thema, den Charakteren und
den verschiedenen ”Gangs” auf. Der lyrische Inhalt ist von der Lebensrealität der Band inspiriert - mit
zeitgemäßen, persönlichen Themen wie Liebe, Aufopferung, Angst und Empowerment.
Initiation setzt seine meisterhafte Heavy-meets-Pop-Attitüde fort, bevor SUMO CYCO mit Vollgas im
zuckersüß verpackten Albumabschluss ”This Dance Is Doomed” enden (verschiedene Varianten des Albums enden mit dem unverblümt selbstbewussten ”Awakened”). Am Ende von Initiation werden sich
Hörer fragen, was genau SUMO CYCO nicht können - was sie zu einer vielversprechenden Band macht,
die sich durch ihre Originalität stets von der Masse abhebt.

Ziad Rahbani’s cult album, “Bennesbeh Labokra...Chou?” originally
released in Lebanon only and mixing arabic music with Jazz, Bossa Nova and other western influences, is hailed as an absolute classic.
The album is the soundtrack to his eponymous play and has been highly soughtafter by DJs and collectors around the world. Curated by Lebanese-born music
expert Mario Choueiry from Institut du Monde Arabe in Paris, the album is
reissued on vinyl for the first time since 1978, featuring original gatefold sleeve,
remastered audio and a 2 page insert with a new introduction by Choueiry.
“Bennesbeh Labokra... Chou?” is a skilful blend of Arabic music and Bossa-nova
- “First Introduction” - the recurring theme of the album, groove - the funky
beat of “Second Introduction” and the jazz vibe of “Variation’s 3 and 4.” It’s also
interesting to hear an early version of “Al Bosta” which would grace Fairuz’s
1979 album “Wahdon” in a faster, funkier version.
With a knack for cinematic orchestrations reminiscent of Lalo Schifrin, Ziad
Rahbani also brings more complex arrangements to the album on such tracks
as “Variation 5” making the album such a rich listening. Undoubtedly one of
the most important albums recorded in the Middle East

Shocking Blue was a Dutch rockband from The Hague that was at their peak in the sixties and seventies and gained major cross-Atlantic success. The band was founded in 1967 and after recruiting vocalist Mariska Veres, they soon became huge. With their single “Venus” they became the first Dutch band ever to reach the first spot on the American Billboard Hot 100. The band had a series of subsequent hits but decided to call it a day in 1975. Their influence reached well beyond their generation: even bands like Nirvana and The Prodigy used Shocking Blue’s ‘Love Buzz’.

3rd Album is, strangely enough, not their third full-length album but their fourth. It was originally released in 1971. This reissue comes with six bonus tracks consisting of singles and b-sides.

This release is available as a limited edition of 1500 individually numbered copies on turquoise coloured vinyl.

Color Vinyl

Formed in 1977 by Tomata du Plenty (vocals), Tommy Gear (synthesizers, vocals), David Brown (electric piano) and KK Barrett (drums), the Screamers were deeply linked to Los Angeles' first wave punk scene, yet their music and high-energy performances stood apart – defying classification and evoking intense audience reactions.

"These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto.

The Screamers concept was simple, yet audacious: take the spirit and the look of Punk – the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism – and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational – to evoke (as Tomata described in an early interview) a state of anxiety.

Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' – perhaps their peak moment, recorded at Target Video in August 1978 – has now passed over 650,000 views online. This is the Screamers' time, and the time is now."

– Jon Savage (excerpt from the liner notes)

Alphaville’s third studio album “The Breathtaking Blue” (1989) introduced new musical elements and a musical concept, added electronic pioneer Klaus Schulze to the production team and embraced emerging technology (including one of the first CD-Graphic releases ever). In addition to the well-produced songs such as the single “Romeos,” the album included the visually stunning and innovative film “Songlines” where nine directors did short movies inspired by one of the album tracks. Later renamed as “Balance,” the short film for the song “Middle of the Riddle” won an Academy Award for “Best Animated Short Film” the following year.
Personally supervised by ALPHAVILLE founding members Marian Gold and Bernhard Lloyd, “The Breathtaking Blue” has been remastered for the first time. “The Breathtaking Blue (Deluxe Edition)” will be released as Deluxe 1LP/DVD-format featuring the remastered original album on vinyl (180g) including a 24-page booklet with many and rare photos in a gatefold sleeve, plus the DVD film “The Breathtaking Blue – Songlines.”

Banoffee Pies Records 16th Original Series release comes via a 4 track Split EP collaboration between Kincaid, and Zenzizenz, the ambient moniker of techno producer Viers. After a long year behind us, and likely ahead, this record takes a temporary step into the calm and adds reflection to the blurred months that passed.

The release is a collection of textural bumps and melodies opening with Kincaid's 9 minute "Slow Stumble Home" - an aptly titled down tempo trip through a confused space, layered with composition, like a Playstation home screen theme on Mushrooms. Calm follows with two tracks from Zenzizenz - "Returning From Home", a steady meditation through rumbling sounds soon shift to a new mood on the B side. "Falling Off" offers a more lethargic wandering mood through the marshland before BP016 comes to it's close with "Single Cell", the 2nd Kincaid track, which concludes with a chaptered 4x4 structure and slow bursts of energy within. Time to absorb. Love BP x

It is with extreme pleasure that we, Basement Boys Records proudly announce our 100th single release and 30th year in the music business as an active recording label!

Holding down our 100th release is the legendary multi-faceted singer/songwriter/producer Byron Stingily. As one third of the Chicago-bred, world renown trio, Ten City and as its primary lead vocalist, Byron’s velvety falsetto graced such House Music staples as “Devotion”, “That’s the Way Love Is”, “My Piece of Heaven” along with scores of other classic House music favourites. As a solo artist, Byron went on to create such memorable House jewels as “Get Up” & “It’s Over” a classic collaboration with the Basement Boys for his project on Nervous Records.

“We Belong Together” contains four mixes. The Monday Night Vocal Dub and Instrumental are up first, with percolating congas and swinging violins that accentuate the well-paced drums and percussion of this delectable mix. The brassy horns sing in tandem with Byron as he tugs on the heartstrings with his romantic, chromatic vocal adlibs and signature riffs. The sugar-laden strings and sparkling pianos brings to mind the 90's Ten City production of Marshall Jefferson.

DJ/songwriter/musician/producer, Maurice Fulton is one of House music’s true originals, back where he started. Maurice had the first release on Basement Boys Records with Sticky People "Kong". A man with a mind-blowing complexity behind all that is deep, dark and funky.

Fulton’s mix takes a more soulful tech approach employing a host of electro sounds. A fervent polyrhythmic vortex of percussive wind chime effects, married with classic snares, tom toms & hi-hats, deep sub bass and a meaty kick all define this masterful alignment of electro and acoustic elements. At the midway point, Maurice turns the suspense-filled symphonic intro from the previous mixes into this electro breakdown groove fest sure to drive dancers into a frenzy complete with Byron’s heartfelt lyric.

Closing it out the Main Mix in all its glory, hi-powered, dense bottoms and percussive elements, sweet R&B “boogie” style chords, neatly placed horn accents with Byron slaying the lyric as he always does in his exquisite, soulful pleading falsetto telling the object of his affection, “We Belong Together”.

Wah Wah 45s make a welcome return to the world of re-issues. Having started out over two decades ago releasing dance floor funk from Benny Poole, Cheyenne Fowler and The Googie Rene Combo, and later re-releasing obscure Kompa-funk from Haitian pianist Henri Pierre Noel, they now turn their attention to an overlooked early 90s acoustic soul gem.

About thirty years ago, music teacher and budding producer Alex Boyesen found himself working as part of the Haringey Music Workshop - a community programme and outreach project funded by the local council in Haringey, North London (coincidentally the area in which the Wah Wah head office is now based!).

"Anyone could come and get lessons for free - ranging from piano, sax, guitar, drums, bass, singing and workshops including choral, jazz band and more." Alex Boyesen

It was during that time that Alex came across a young Sam Edwards.

"One day I went into one of the rehearsal rooms and there, by herself, was this girl playing a piano and singing. It was the most incredible voice I had ever heard."

Before long, the pair were playing all over London as a duo with Alex on guitar and Sam on vocals.

"Sam had never had professional training, she was simply an utter natural."

The Haringey Music workshop was connected with other projects in the borough, in particular a community project called the Selby Centre. Here they ran training programs for young people and one of these was a music business course. The idea was that they found an artist, recorded them and then promoted them. One way or the other they ended up picking Alex and Sam to be on their roster.

"My good friend Nixon Rosembert was brought in to oversee the recordings and they hired the Islington Music Workshop to do the recording. We got musicians from the Haringey Music Workshop to play on the sessions and spent a day recording two songs -American CarsandLife. The training workshop had created a label called Progression Music and out the record went."

Three decades later and out of the blue Alex started to get interest again in the record he'd almost forgotten about all those years ago. It had become something of a sought after gem on Discogs, and there seemed to be an interest in that 'acoustic soul' sound once again.

"I got three people asking if they could re-release it and finally here we are with Wah Wah 45s doing the business after all these years."

It was Hospital Records and Wah Wah 45s founder, Chris Goss, who first brought the idea of releasing this record to the table.

"This is a really special record for me, picked up 30 years ago, from a young James Lavelle at Honest Jon's in Ladbroke Grove. Sam Edwards would go on to perform and write songs with North London's Izit, the acid jazz collective fronted by Tony Colman - with whom I have built a music company, these past 25 years. Alex Boyeson worked with Tony at the Haringey Arts Project, who produced a one-off vinyl release of Alex's two compositions back in 1991. Thanks to Alex and Tony, we have been able to clean-up the original audio, uncover photos and lyric sheets to present, with real love and affection, these two lost gems from a bygone era." Chris Goss, Feb 2021.

The project was then expanded by Dom Servini, who got heavy disco legend Ashley Beedle and co-label owner and erstwhile producer Adam Scrimshire in to take on remix duties.

"When approached by Dom Servini to reworkAmerican CarsI had no idea about the history of the original song. After a good listen myself and studio partner Darren Morris set to work and all I can say that it was a lovely experience keeping the vibe of the original but giving it a spaced out feel in true Afrikanz On Marz fashion." Ashley Beedle, Feb 2021.

"Remixing without multi-tracks always brings a bunch of challenges, getting the balance between the bass and drums in the original and what you want to do with your own version. The song really dictates certain things to you.

But it was such a pleasure to explore that with this beautiful song and vocal performance. So many ways to approach it. I just wanted to draw out more of the melancholy in the original and make it an absorbing experience." Adam Scrimshire, Feb 2021.

Perhaps the last word should be given to Alex himself, who's very much enjoying the new lease of life that his music with Sam is getting.

"As I write this we are trying to locate her, she's somewhere singing something, that's all she ever did. Thanks for being part of my life Sam and I am so glad that this small bit of that time is being remembered." Alex Boyesen, Feb 2021.

Toronto’s infamous psychedelic multimedia collective, Intersystems, make a surprise return with a new full-length LP, #IV. Coming via Waveshaper Media, #IV is Intersystems’ first new material since 1968! Intersystems’ pioneering avant/electronic music sounded positively alien in the 1960s, and more than 50 years later, this latest body of work sounds just as otherworldly.

When they arrived on the scene in the late 1960s, Intersystems stood out from their peers. Comprised of architect Dik Zander, light sculptor Michael Hayden, poet Blake Parker, and musician John Mills-Cockell (of Syrinx, Kensington Market and more), the group mounted groundbreaking pan-sensory events and released a trilogy of defiantly disorienting records.

Where more conventional purveyors of sonic psychedelia were content with fuzztone guitar and orientalist tropes, Intersystems managed to approximate the full psychedelic experience in all its euphoric wonder and terror. Initially wrangling homespun gadgetry, feverishly spliced-together tapes, and mutant beat poetry, Intersystems were also among the very first to deploy a Moog Synthesizer; their Moog modular system was the first to be imported into Canada. Intersystems’ three vinyl LP recordings, meanwhile, justifiably became coveted collector's items given their scarce quantity and singular unsettling vision.

The reissue of Intersystems’ full discography in 2015 prompted acclaim from a number of major outlets. Among them, PopMatters hailed the set as "one of those great lost recordings (three of 'em actually) that comes from the lysergic era..." Mills-Cockell’s work in Syrinx has also been reissued to great acclaim in recent years.

Fifty-plus years after their 1968 album Free Psychedelic Poster Inside, Hayden and Mills-Cockell decided to revive the long-dormant project with a series of sessions at Hamilton's storied Grant Avenue Studio. The resultant music remains remarkably congruent with the project's original vision while clearly emerging from the present moment. With original poet/lyricist Blake Parker now deceased, Hayden and Mills-Cockell made the counterintuitive (yet strangely apt) decision to render Parker's words electronically. As the computer-synthesized voice alternates between an eerily life-like delivery and slurred cybernetic faltering, it brings a new dystopian tint to the group's anxious surrealism. Taking cues from its predecessor, Free Psychedelic Poster Inside, a modular Moog Synthesizer system is the primary instrument, yet here it offers a dynamic blend of different sonorities: barbed wire basslines, Subotnickesque chirping, gestural plumes of colour and percussive filigree.

While the group cut their teeth in the 1960s, make no mistake these new Intersystems recordings aren't a “comeback" or an attempt to rehash the "good old days". What one hears instead is the sound of Mills-Cockell and Hayden re-energizing the project, bringing with them the myriad experience they’ve accumulated in the intervening 50 years. These aural concoctions—no less perplexing than their 1960s predecessors—build upon the Intersystems foundation but very decidedly reside in the present moment, reminding listeners of just how forward-looking this group was in the first place.

BBE Music present the latest in the acclaimed J Jazz Masterclass Series: Kohsuke Mine ‘First’, the debut album by one of the leading artists in the new wave of modern jazz that swept Japan in the late 60s and early 70s. ‘First’ epitomises the shifting sound of the Japanese modern jazz scene of the time, characterised by rich textures and tones, kinetic rhythms, punctuated by urgent, angular melody lines. Reissued for the first time since original 1970 release, Mine is joined by master keyboard player Masabumi Kikuchi on electric piano, and two American players - bassist Larry Ridley and drummer Lenny McBrowne - to deliver one of the strongest debuts in the J Jazz canon. ‘First’ announced the arrival of a serious talent, one who was to be a hugely influential figure in the Japanese jazz scene across the decade that followed and beyond. ‘First’ established an artist who built a reputation for standout albums spanning spiritual jazz, post-bop, modal and funk-fusion. All of that started here, on this exemplary album. ‘First’ is issued on CD, digital and vinyl. The vinyl edition is presented as a double album, cut at 45rpm by the Grammy-nominated Carvery, with full original reproduction artwork, including obi strip. Both CD and vinyl comes with a 4500 word sleeve note and interview with Kohsuke Mine by Tony Higgins, plus artist portraits by Shigeru Uchiyama. J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Mondo, in partnership with WaterTower Music is proud to present the premiere vinyl pressing of Benjamin Wallfisch's triumphant score for the 2019 superhero comedy SHAZAM!

Ben Wallfisch is one of the most incredible composers working today. He is a master of genre, but also impossible to pin down. His work on BLADE RUNNER 2049 is a masterclass in modern sci-fi. He redefined the sound of terror with his scores for IT CHAPTER 1 & IT CHAPTER 2 and last year's INVISIBLE MAN. To round the trifecta, though, he also has a playful side, which is no more present than in his ode to Williams and Goldsmith in SHAZAM! Just like the film, it is an immediate burst of energy, excitement and full of 80's filmmaking sincerity.

Featuring all new original artwork by Cathy Kwan and liner notes by composer Benjamin Wallfisch.

Found from Dennis Bovel's hugeAcollection of master sound sources, the gem of sweet lovers that has not been officially released will be finally released as a 7inch single! The cover take of "Groovin'', originallyAplayed by Young Rascals, which was stored in the collection of the popular female soul singer "Marie Pierre" who left the masterpiece of UK lovers soul "Love affair" released in 1979. B-side is a rare alternative take of her populer tune "Can't Go Through"!

Erster Release der Light In The Attic Re-Issue Serie zu Ehren von LEE HAZLEWOOD mit Stücken von so essentiellen Alben wie ,Cowboy In Sweden". Mit Duetts mit Suzi Jane Hokom, Ann Margret und Nina Lizell. Extensive Linernotes und bisher ungesehene Photos. Mit seinem Schnurrbart und dem klingenden Bariton war LEE HAZLEWOOD einer der Stars der späten 60er Jahre. Obwohl er wahrscheinlich am bekanntesten wegen seiner Arbeit mit NANCY SINATRA ist (er schrieb ihren Megahit ,These Boots Are Made For Walking"), leistete HAZLEWOOD auch fernab dieser besonderen Glamourkönigin beachtliche Arbeit und fand später große Fans in BECK, SONIC YOUTH und JARVIS COCKER. Für den Record Store Day 2012 präsentiert Light In The Attic den Startpunkt einer Anthologie mit ,Singles, Nudes&Backsides", die LEEs beste Solosongs und Duetts seines Lee Hazlewood Industries Sublabels (LHI) versammelt. Die Serie wird sich Material von LHI widmen (das hier zum ersten Mal von den analogen Originaltapes neu gemastert wurde), zusammen mit LEEs Output bei anderen Labels, Raritäten, unveröffentlichten Schätzen und den Filmen von Torbjörn Axelman. Man muss nur das Cover anschauen: umringt von nackten Mädchen, die alle einen unechten Schnurrbart tragen, spielt HAZLEWOOD im Anzug leicht unsouverän den Playboy. Exakt wie dieses Photo zeigen auch die Songs einen gespaltenen Mann: er ist der zärtliche Romantiker, der gebrochene Loser und der zerfurchte Cowboy zugleich.

Ryley Walker currently resides in New York City. But his latest LP is a Chicago record in spirit. The masterful Course In Fable, the songwriter’s fi@h solo effort,
draws from the deep well of that city’s ferCle 1990s scene, when bands like Tortoise, The Sea and Cake and Gastr del Sol were reshaping the underground,
mixing and matching indie rock, jazz, prog and beyond.
Walker spent his formaCve years in Chicago, absorbing those heady sounds and finding ways to make them his own. Even though he emerged at first in folkrock
troubadour mode, it makes sense that he’s arrived at this point; each LP has grown more intricate and assured, his influences disClling into something
original and unusual. To put it simply: Course In Fable is Walker’s best record yet, full of acCve imaginaCon and endless possibiliCes.
Last October, Ryley went straight to one of the primary architects of the Chicago sound to make the LP. John McEn:re, Course In Fable’s producer/engineer/
mixer, can rightly be called a legend for his work with Tortoise, Stereolab, The Red Krayola, Jim O’Rourke and countless others over a prolific career that now
spans more than three decades. Seeing his name in an album’s liners is preVy much a trademark of quality.
Another Windy City exile, McEnCre is based on the west coast these days, working out of the Portland, OR studio he’s dubbed Soma West. On the seven songs
here, he delivers the signature shimmering and prisCne sonics he’s become known for over the years. But McEnCre was also inCmately involved with Course
In Fable’s overall creaCve process. “I told him to take the mixes and have at it,” Walker says.
The result is a rich, immersive affair — a headphones record if ever there was one. Course In Fable’s songs are twisty, labyrinthine things, stuffed full of ideas
(Walker half-jokingly calls it his “prog record”). But no maVer how complex it gets, the album is never overwhelmingly busy. Wiry guitars melt into gorgeous
string secCons (arranged by Douglas Jenkins of the Portland Cello Project). Tricky Cme signatures abound but feel as natural as can be. Melodies o@en dri@ in
unexpected direcCons but remain downright hummable. Like Walker’s beloved Genesis, the pop element is never too far from the surface even when shit
gets weird. (And speaking of weird, Ryley says that in addiCon to Genesis, much of the album’s inspiraCon comes from “Australian extreme scooter riders on
YouTube and balding gear heads on Craigslist.” Go figure.)
To help put together these various puzzle pieces, Ryley assembled a band made up of several longCme collaborators. Bill MacKay (another Chicago mainstay)
and Walker have made two excellent instrumental duo records of interlocking guitars and warm give-and-take — a rapport very much in evidence
throughout Course In Fable. The freakishly talented drummer Ryan Jewell has performed with Walker for years now in a variety of seangs, from
straighborward song-centric sets to blown-out improv extravaganzas. Bassist Andrew ScoJ Young (Tiger Hatchery, Health&Beauty) has logged many miles on
tour with Walker; he and Jewell are frequently astonishing, a buoyant-but-always-locked-in rhythm secCon, able to navigate someCmes dizzying turnarounds
with apparent ease. Listening to the interplay between Walker and these musicians and you might be fooled into thinking they’d spent a year roadtesCng
Course In Fable’s songs. But it all came together relaCvely fast, thanks to demos, rehearsals and the kind of musical empathy that comes from years of
playing together.
Beneath the wondrous interplay, you’ll find some of Walker’s most personal – if sCll typically crypCc — lyrics, hinCng at some of the trials the songwriter has
been dealing with in recent years. Balanced with necessary doses of dark humor and oddball poetry, Course In Fable feels most of all like a life-affirming
record, fresh air in the lungs, sun on your skin. “Fuck me, I’m alive,” Ryley sings at one point, a moment of both disbelief and pure joy.
Walker has released his albums on a who’s-who of independent labels over the past decade — Tompkins Square, Dead Oceans, Thrill Jockey and Drag City
among them. This Cme around, he’s doing it DIY-style, puang Course In Fable out on his own Husky Pants imprint. You’re in good hands. This is an album that
sounds great (mastered by Greg Calbi), looks great (artwork by Jenny Nelson and design by Michael Vallera). It probably even smells great. Whether you’ve
been onboard since the beginning or are new to the Ryley Walker universe, you’re in for a treat.

Jump Salty contains the first songs by Pinhead Gunpowder, recorded
thirty years ago but sounding just as fresh today. This compilation
of singles and compilation tracks is back on vinyl for the first
time in over a decade! Originally a CD-only release on Lookout!
Records, this has been re-cut at 45rpm for the first time and comes
on limited indie-exclusive translucent gold vinyl! Sonically this LP
is a confluence of the bands from which members Aaron Cometbus
(Crimpshrine, Cleveland Bound Death Sentence, Sweet Baby), Billie
Joe Armstrong (Green Day, The Longshot), Sarah Kirsch (Fuel,
Baader Brains, Mothercountry Motherfuckers), and Bill Schneider
(Monsula, Uranium 9 Volt, Dead Sound) hail from.

Pixey grew up in the sleepy but picturesque village Parbold, Lancashire before moving to Liverpool for school and remaining there to this day. Now signed to Chess Club - a label famed for breaking new talent, where recent exciting signings include AlfieTempleman and Phoebe Green, and past successes include Jungle, Wolf Alice and Easy Life - Pixey is making more waves than ever before. ‘Just Move’ drew attention from BBC Radio 1 DJs Jack Saunders (who made Pixey one of his Next Wave artists) and Huw Stephens amongst many other admirers like Radio X’s John Kennedy who added the band to the X-Posure playlist at the station in October. Pixey has also featured as the cover artist of Spotify’s Indie Brandneu (GER) and Peach editorial playlists, and wasamongst the artists named in major annual tips lists, the Dork HYPE List and the NME 100.



New single ‘Electric Dream’ - with its accompanying video by Thomas Davies - combines cavernous drum machines and dreamy pop melodies with a signature dance stomp. Speaking about new single, Pixey explains: “‘Electric Dream’ was originally written as a piano ballad but after finishing the lyrics I felt the song worked as a dance track. I wrote it to make sense ofbeing locked in with nothing to rely on but technology. The verses are all of my anxieties that come with that - like trying to simulate humanity digitally and what kind of a future that would be - but the choruses are about the imperfections of real life that technology and AI can’t give us.”



Debut EP Free To Live In Colour was written, recorded and produced in Pixey’s bedroom in Liverpool - with additional production added by frequent Gorillaz and Jamie T collaborator James Dring - and draws inspiration from genres like hardcore breakbeat and





dream pop. Pixey says: “I wanted a collection of tracks which gave a quick snapshot into me and my brain - where I’m from, where I want to be and what I’m thinking about. I hope people can take something meaningful from it or simply have a dance.”



Pixey first discovered music as a toddler - she remembers not even being able to walk yet but desperate to sing and dance to Queen - before discovering the likes of Kate Bush, Björk, and George Harrison, whose classic songwriting struck a chord with her in her youth. The catalyst for Pixey’s musical coming of age however, was a near fatal viral illness suffered in early 2016 which hospitalised her, she says: “When I thought I was going to die I thought of all the things I wish I’d done and music was the first thing I thought of. As soon as I started recovering I started learning to record and produce.” She taught herself Ableton production software before mastering guitar and eventually drums and bass after her previous (and current) boyfriend(s) left their instruments lying around to prove she could learn it quicker and play it better.



Once able to carve out her own sound, Pixey turned to The Verve, The Prodigy and De La Soul for sonic inspiration, adding: “I particularly like the idea of using samples/making my own riffs sound like samples which was heavily inspired by the De La Soul album 3 Feet High and Rising. Starting out initially though Grimes was a huge catalyst when I realized she wrote, recorded &produced herself.” Her prolific and unusual songwriting style stems from an original riff or beat, with further layers added as she records and produces, and lyrics being added last - the process taking only a day or two.



With Free To Live In Colour and a whole arsenal of further material being readied on her new label home, Chess Club, Pixey is primed for big things in 2021 and beyond.

If some of these titles look familiar, it’s because they’re among the most majestic roots and culture songs ever recorded, and by singers whose credentials are beyond question. All tracks feature the original artists and even the actual seventies’ vocal in some cases, but the rhythms have been recreated with today’s sound-systems in mind and are heard at their very best when roaring out of giant speaker boxes, greeted by a forest of raisedhands and with a deejay at the mic.

Producers Mafia & Fluxy include reggae legends Bunny “Striker” Lee and Fat Man among their mentors, and their mastery both in the studio and on stage is unrivalled outside of Jamaica. The way these two brothers play dub will make the hairs on the back of your neck stand up whilst the messages in songs like Every Tongue Shall Tell, Declaration Of Rights, No Peace and Fittest Of The Fittest are relevant as ever but then the music on this album isn’t dated, and is reggae, roots and culture for the ages.

Can was founded in 1968 by Irmin Schmidt, Holger
Czukay, Michael Karoli and Jaki Liebezeit who
formed a group which would utilise and transcend
all boundaries of ethnic, electronic experimental
and modern classical music.
This classic album of tracks was recorded at the
beginning of Can’s life and features original
vocalist Malcolm Mooney.
‘Thief’ is now a rejuvenated Can classic having
been covered by Radiohead and since then
discovered by a new generation of fans.
Can’s powerful influence has never diminished and
their indelible mark is apparent in the bands who
freely acknowledge their importance - from
Portishead, James Murphy, New Order, Factory
Floor, Public Image Ltd, Mogwai, Kanye West and
Radiohead - as well as across other disciplines
such as visual art and literature.
“Can are impossible to classify and it’s impossible
to ignore their seismic influence on so many
diverse musical paths” - Richard Hawley
“Can are the most revolutionary band ever” -
Stephen Morris (New Order)
Now available on pink vinyl with digital download
code.

Critically acclaimed debut studio album by American soul/R&B singer. Originally released digitally/CD in 2019 by Keep Cool Records via RCA. The album was broken up into two EP's, part of a series to lead up to his debut album. The album received a nomination for Best R&B Album at the 62nd Grammy Awards, while the album's lead single "Roll Some Mo" received nominations for Best R&B Song and Best R&B Performance. Album cut "Real Games" received a nomination in the Best Traditional R&B Performance category. To mark the album's first anniversary, a deluxe edition of 'Painted' was released digitally in May 2020 including new mixes and alternative versions of previously released songs as well as four new tracks. Here the album is available phisically for the first time, as a double LP. Specialist marketing activity.

Still just shy of legal US drinking age, GRAMMY®-winning Atlanta hard rock juggernaut Mastodon turns 20 this year! Celebrating two decades together, the group will unleash a rarities collection, Medium Rarities, which includes among the many rare highlights an unreleased track “Fallen Torches,” recorded in 2019.

The band explains, “‘Fallen Torches’ is an unreleased track from Mastodon that will appear for the first time on Medium Rarities. This classic Mastodon track was recorded in Atlanta in 2019, originally planned to be released in support of a European tour, the track was delayed so the band could focus on the release of Stairway to Nick John, a tribute to their late, long time manager Nick John, with proceeds going to the Hirshberg Foundation for Pancreatic Cancer Research in his honour. ‘Fallen Torches’ is written by Mastodon and features guest vocals by longtime friend and collaborator Scott Kelly from the band Neurosis.”

Medium Rarities presents a bevy of classic covers, soundtrack contributions, instrumentals, B-sides, and live recordings on one complete package for the very first time. Among an eclectic array of covers, the musicians tackle “A Commotion” by Feist, “A Spoonful Weighs A Ton” by The Flaming Lips, and “Orion” by Metallica. It also features soundtrack cuts such as “White Walker” Game of Thrones and “Cut You Up With A Linoleum Knife” [Aqua Teen Hunger Force]. Meanwhile, they get under the hood with instrumental versions of “Asleep in the Deep,” “Toe To Toes,” “Jaguar God,” and “Halloween.”

Another new Mastodon track “Rufus Lives” will be included in the forthcoming Orion Pictures film Bill & Ted Face The Music, expected to be released in September 2020. Written, performed and produced by the band and recorded in their hometown of Atlanta, the track will also appear exclusively on the film’s official soundtrack album. Further details to be revealed shortly.

The anniversary celebration only continues. At the moment, Mastodon are hard at work on their anxiously awaited ninth full-length and first record since the GRAMMY® Award-winning Emperor of Sand in 2017.

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.

The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.

When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.

“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.

After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

“Some tracks chime and soar like Coldplay. Others are just a post-rock whimper away from Radiohead... Marillion deserve a fair hearing.” UNCUT
Marillion formed in 1979 and have sold over 15 million albums worldwide.
Rightly regarded as legends of progressive rock, the band have also continued to evolve and have been keen to embrace the possibilities of the internet, using innovative ways to interact with listeners resulting in an incredibly loyal legion of fans around the world.
‘Somewhere Else’ was Marillion’s fourteenth album and was originally released in 2007. Following on from the success of the previous album ‘Marbles’, which spawned two hit singles, ‘Somewhere Else’ gave the band their first UK top 30 album in ten years.
This new Kscope mid-price CD edition of ‘Somewhere Else’ is presented in four panel digi-pack packaging complete with a 12-page booklet. And 140gm 2LP edition of ‘Somewhere Else’ is presented in gatefold sleeve and features three bonus tracks recorded live on the 15th and 16th June 2007 at the Forum in London.