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Repress in soon. Dead Moon’s first record! Originally released in 1988. Dead Moon were a band that existed outside of the constraints that time & style usually impose on artists. An authentic mix of psychedelic rock, punk, blues, country, & every other American music worth a damn. This LP features all time classics such as "Graveyard" ( A 13th Floor Elevators type vibrating psychedelic song), "Don't Burn The Fires" & "I Hate The Blues". Lo - fi as hell. Remastered from the original tapes. We are very proud to make this LP available on vinyl once more.

2024 Repress

180 Gram, Tip On Sleeve RSD version of this classic. One of the rarer records of the mythical Strata East albums is finally reissued for the first time on Heavenly Sweetness!
The recording of Earth Blossom, the John Betsch Societys one and only album, seems something of an enigma nowadays. For even though Nashville is clearly one of the towns in the US with the highest number of recording studios, who would have thought that the capital of country music would give birth to one of the forgotten masterpieces of 1970s spiritual jazz. The path leading to the album starts in 1963 when John Betsch, originally from Jacksonville in Florida, arrives in Nashville to study at Frisk University. He is a young drummer and joins Bob Holmes trio. Holmes is one of the towns major jazz organists and pianists; he becomes Betschs mentor and, over the space of two years, John will play alternately with him and with the trumpeter Louis Smiths group. However, in 1965, John leaves town to go to the prestigious Berkeley University in Boston and do a two-year course along with his fellow debutants with names like John Abercrombie, Ernie Watts and Alan Broadbent. Two years later, he is invited by a pianist friend, Billy Chilf, to join the legendary singer/songwriter Tim Hardins group. Just after Woodstock, John Betsch and Tim record a psychedelic album Columbia will never release together with the members of the future group Oregon: Colin Walcott, Glen Moore, Paul McCandles and his friend Billy Chilf. But he soon leaves this group to return to Nashville where he hooks up again with his friend Bob Holmes. Two years later, he is accepted on Archie Shepp and Max Roachs famous course at the University of Massachusetts Amherst (UMASS) and for the next four years he participates in this collective of intellectuals and musicians under the aegis of the two masters.
During this period he returns to Nashville to form his Society whose music is obviously influenced by the Afrocentric ideas of the UMASS student and political movement. However, the album, recorded in one day and in one take, also bears the hallmark of their generations psychedelic experiences, and in the themes and playing of the musicians we can hear a less violent form of music than the radical free jazz of New York or Chicago. Nature and environmental themes are the inspiration behind tracks touched by the spirit of Coltrane but also of Flower Power.

After Amherst, John Betsch joins Marion Browns group in 1976, leaves Tennessee for good and makes his home in New York over the next ten years or so. He plays and records with Dollar Brand, Kalaparusha Maurice McIntyre and many others, before heading off to France. He has lived in Paris for the last twenty years and played in Steve Lacy, Mal Waldron and Archie Shepp bands, as well as forming groups of his own. He now lives in Paris and plays with many musicians/bands.

"We had a conversation recently where we realized that we’ve been a band for almost 10 years. When we started Wild Rivers way back when, we had never played a real concert before. When we made our first record it was our first time stepping into a real studio. We barely even knew each other when we started this band. Since then we’ve played a thousand shows, recorded over 30 songs, and become a family.

When we set out to record ‘Never Better’, we felt like we were at a new stage of the band. By that point, we’d put in the hours and all began to feel totally self assured in what we were about to do. We wanted to bring everything we’ve learned over the years and all that we’ve been through as a group to the project. We chose to trust our guts and move quickly and confidently in every decision, second guessing ourselves as little as possible. In having this mindset, we were able to completely let loose and go deeper into the process, finding new ways of recording live, swapping instruments, and turning these songs on their heads. We couldn’t have made this record a few years ago.

We approached this record with the mindset, ‘this is who we are’. We aren’t pretending to be something we’re not, or trying to sound like anyone else. We wanted it to feel easy. We wanted the stories to be real. We wanted to show our true selves as best we could. We’re proud of who we’ve become as people and as a team. We truly feel like we’re having the most fun with music that we’ve ever had, and in the most exciting stage of our lives. We’re never better."

Transparent yellow with black and red splatter, limited to 700 copies. SUMMONING THE LICH return this summer with the latest installment in their fantasy universe of technical death metal. The St. Louis, Missouri band's forthcoming second album, Under the Reviled Throne, is set for release via Prosthetic Records on July 26. Following the events of their established world of Arrias on their debut album, United In Chaos, Under the Reviled Throne sees the next chapter of the Lich come to life through tales of isolationist kingdoms, malevolent mages, witch queens and cannibalistic armies hellbent on destruction. After three years of extensive US touring and shows with the likes of Allageon, Gorod and Inferi among others, as well as headline stints, SUMMONING THE LICH set about bringing Under the Reviled Throne to life. Intended as a death metal equivalent of sorts to The Empire Strikes Back in scope, the group set their sights on raising the stakes in both story and songwriting. Recorded throughout 2023 at Sicktones Studio with Jack Daniels, SUMMONING THE LICH took the considered approach of eschewing superfluous technicality in favor of a leaner and more streamlined focus on song structure. Each of the tracks on Under the Reviled Throne were written with the purpose of guiding the listener through the eponymous Lich's descent into misanthropy and tyranny, without sacrificing their idiosyncratic sound.

"Southern Rock Opera is the third studio album by the American rock band Drive-By Truckers, released in 2001. Originally released as a double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, Southern Rock Opera either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd.

New West Records is proud to present a remixed and remastered deluxe edition LP featuring a resequenced record as well as a third disc with multiple bonus tracks including a song “Mystery Song” that was recorded one night in Birmingham. Lead Singer, Patterson Hood explains, ““Birmingham” and “Moved” were originally part of Act I on original CD release. This is the first vinyl version to feature “Moved” and we felt that “Birmingham” would be the best other song to move without messing up the story element of Betamax Guillotine. We moved them here to keep the vinyl sides within time of maximum high fidelity. (Under 23 minutes per mastering guidelines).

In the process of re-mixing the original tracks for the album. We stumbled upon a mysterious track that was recorded late one night in Birmingham. None of us have any memory whatsoever of recording it. The song itself was never even written down, just made up on the spot while the tape was rolling. We’re calling it “Mystery Song.” It’s actually a keeper.”

This 3-disc deluxe edition comes packed in a foil stamped rigid slipcase with the original album packaged as a 2xLP set in gatefold. The 3rd LP is packaged in a separate jacket. Each record comes with a 28-page book that is given the spot gloss treatment throughout."

“An Electric Storm” is the most renowned work of UK collective White Noise, an English experimental electronic music band consisting of virtuoso knob twiddlers and tape splicers. Although not very succes- sful on its initial release, the album is now considered an important and influential album in the develop- ment of electronic music. But beyond its historical importance, the harmonic progressions, among other things, are by no means taken for granted, and refer a lot to the Baroque and to classical composition in general. This album was obviously a labour of love, taking a whole year to complete seven amazing songs before sampling technology, synthesizers and digital equipment were readily available. There’s also chaotic humour at play on the feverish “Here Come the Fleas,” which contains more edits in its two minutes than the whole of Sgt. Pepper’s. Yet it’s the retro-futurist textures that still grab the ear most.

Chicago's Black Diamond debuts on We Jazz Records with their new album Furniture Of the Mind Rearranging on 26th July. Co-led by Artie Black and Hunter Diamond (composers, saxophones, and other woodwinds), Black Diamond appears in both quartet and duo formations. The first three album sides present the quartet, complete with long standing band members Matt Ulery (double bass) and Neil Hemphill (drums), under the heading Furniture Of the Mind. The remaining two tracks on side D fall under the title The Mind Rearranging, with Black and Diamond presenting a meditative duo encounter of two tenor saxophones.

Furniture Of the Mind Rearranging is an assemblage of new compositions and improvisations that develop the band's established sound and exemplify the way in which this band folds into the Chicago creative music community. The quartet traverses their familiar aesthetic ranges between driving off-kilter groove, plaintive minimalism, and intimate chamber music, with the everpresent spirit of small-group jazz and a hovering influence of Chicago’s improvised music culture. And while this collection represents three previous

albums and more than a decade of close kinship and artistic evolution between co-leaders Black and Diamond, neither are too precious about any one element on the album. This is very simply the latest work in what continues to be an expanding body work founded on a guiding principle: cultivation without expectation.

The four sides with two formations flow together in a natural way, forming an idiosyncratic musical entity that is sure to grow with each new spin on the turntable.

"Limited-Edition, 1LP on Sea Blue Vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Dead's second Arista album, 1978's SHAKEDOWN STREET was the follow up to their excellent and successful Terrapin Station album from the previous year. Drawing on several influences and inspirations including disco and world music, at its heart, SHAKEDOWN STREET is an unabashed rock and roll album, filled with exceptional studio performances of some of the Dead's most-loved songs, including “Fire On The Mountain,” “Stagger Lee,” “I Need A Miracle,” and the title track. A couple of reworked throwbacks from the Dead's earliest days, “Good Lovin'” and “All New Minglewood Blues,” adds to the album's rock bona fides. Produced by none other than Little Feat's Lowell George, SHAKEDOWN STREET is a beautifully produced nuanced album that stands the test of time more than 45 years since its release.”- David Lemieux"

"Limited-Edition, 1LP on Sea Blue Vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Dead's second Arista album, 1978's SHAKEDOWN STREET was the follow up to their excellent and successful Terrapin Station album from the previous year. Drawing on several influences and inspirations including disco and world music, at its heart, SHAKEDOWN STREET is an unabashed rock and roll album, filled with exceptional studio performances of some of the Dead's most-loved songs, including “Fire On The Mountain,” “Stagger Lee,” “I Need A Miracle,” and the title track. A couple of reworked throwbacks from the Dead's earliest days, “Good Lovin'” and “All New Minglewood Blues,” adds to the album's rock bona fides. Produced by none other than Little Feat's Lowell George, SHAKEDOWN STREET is a beautifully produced nuanced album that stands the test of time more than 45 years since its release.”- David Lemieux"

Rising Sheffield five-piece Dearthworms are set to release their debut album Sapsucker; a ferocious yet considered blend of jagged noise, wonk-rock, and a touch of experimental post-punk, in the vein of the Pixies, The Fall, Shame, Gilla Band, Protomartyr, Uranium Club.

Infused with eerie, surreal lyrics, stepping into Sapsucker is to dive head first into a parallel universe populated by snivelling, pathetic men, tales of eroticism, ruminations on death, and even a giant worm rooted in North-East folklore.

The band, who all have a longstanding history of being in various other bands in Sheffield inc. Blood Sport, Amorous Dialogues, Knorke and Stray Bullet, are a by-product of the local DIY space Hatch; a place that has existed as a creative incubator and experimental breeding ground.

Lyndon Hobson’s production captures the tone of the album itself, which is one equally rooted in anxious introspection as much as it is noisy and cathartic outpourings. This is a debut album that is genuinely distinct and singular, filled with varying twists and turns and off-kilter movements.

Beginning in the 60"s, the small chamber group ensemble became increasingly important in the advancement of jazz, enabling horn players including Sonny Rollins, Joe Henderson, and Ornette Coleman to seek uncharted sonic territories and achieve new levels of freedom without the support of chordal instruments. With a mature, cohesive ensemble sound, the young trio juxtaposes tranquility and space with energy and tenacity across nine original compositions showcasing their stylistic breadth. From the swinging waltz "December" with a melodic contour reminiscent of a jazz standard, the soothing folk-influenced simplicity of "Vent", the intimate lyrical interplay between bass and clarinet in "Duo", to the heavy, propulsive power of the title track, the trio demonstrates fearlessness, listening, and spontaneity in a raw and personal recording that puts each of their distinctive voices in the spotlight. Christian Holm-Svendsen, currently resides in New York, studying for a master of music at Manhattan School of Music. In Denmark he played with, among others, The Danish Radio Big Band, Copenhagen Jazz Orchestra, Odense Jazz Orchestra, Jesper Zeuthen, and Regnfang. Daniel Sommer is an award-winning artist and sought-after drummer on the international jazz scene. Known for crossing the borders of different musical landscapes with a distinctive musical approach, Sommer currently performs with Karmen Roivassepp Quartet, Foyn/Hess/AC/Sommer and recently released the trio album "From Within" with Arild Andersen and Rob Luft on April Records. Mariusz Prasniewski is a Polish double bass player, residing in Copenhagen. A part of the Danish and European jazz scene for more than a decade, the bassist has worked with musicians like Tomasz Dabrowski, Anders Mogensen, and Gilad Hekselman.

Ben Reed has worked with Frank Ocean, David Byrne, Sampha and many others, but his own music is unpredictable, passionate and tinged with melancholy and has drawn comparisons to the so-called Canterbury sound of Progressive rock.


‘Bandaged’ is much more in the singer/songwriter vein than Ben's previous releases, albeit tinged with an undeniable British proggy-ness. The richness of melody and harmonic vocabulary remains, and the influence of jazz is still detectable, this time via more concise song forms.


Past review comparisons to the Canterbury sound aren't too far wide of the mark here, especially as Jimmy Hastings (Caravan, Hatfield & the North) is present on two of the songs.


Throughout the album there is a detectable combination of sentimentality and melancholy combined with playfulness and a dark sense of humour making ‘Bandaged’ one of the most interesting and innovative new albums of its genre in 2023.

On The Edge Of A Lost And Lonely World is the sophomore album from Humanist, the moniker of frequent Mark Lanegan collaborator Rob Marshall. The album features an array of guests including Depeche Mode’s Dave Gahan, Midlake’s Tim Smith, Isobel Campbell, and Ed Harcourt, amongst others.

First ever vinyl release of the second album released in 2012!

Fuyumi Abe (Vo.G) is Japanese singer-songwriter whose works have been featured in numerous commercials and movie theme songs since her major label debut in 2007.

This ambitious work is produced and arranged by Kei Kono, who has worked with Hikaru Utada and others, in pursuit of simplicity.

Sulo Karlsson is probably most well known as the frontman of the long serving Swedish glam boogie rockers Diamond Dogs but he's far more than that. Besides forming bands with UK guitar legend Chris Spedding (The Piggyback Riders) and former members from
The Clash and Sham 69 (The Crunch) he has been releasing numerous of solo albums and collaborated with artists such as Paul Young, Maria Mckee, Terry Reid, Janis Ian etc.

A well-kept secret and a lost pearl in the collection have been his first ever solo album "Rough Diamonds" that came out in a limited edition in 2003 and since the been out of stock for a long time and never released on vinyl or as download. Until now!


The complete debut including 13 tracks recorded between 1997-1999 at the legendary Sunlight studio and produced by Tomas Skogsberg (Hellacopters/Backyard Babies etc) will now be re-released together with an extra album of 12 never before released tracks. With guest like Nicke Andersson (Hellacopters), Dregen (Hellacopters) and his old band mate Boba among others "Rough Diamond" is a distorted display of Punky glam numbers that really points out the future for Sulo's career.

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

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

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

Destruction Derby (Remixes and Alternative Mixes) is a collection of the remixes and alternative mixes from the era of their debut album - Future Primitive. Reconfigured by the finest minds in underground rock n roll and trashed onto a mixtape cassette, the mixtape brings together remixes of Data Animal along side remixes undertaken by Data Animal of other artists. Destruction Derby is out on cassette and digitally May 31st , only on Dedstrange.

Reissue of Annette Peacock and Paul Bley's "Dual Unity" album, originally released in 1972 on Freedom Records. Hailed as a pioneer and artistic genius by many, this album captures Peacock in her element alongside husband, Canadian jazz genius Paul Bley. Dual Unity is a landscape of aural vision captured on tape in 1970, during their first European tour. For 33 minutes and 21 seconds, the listener is absorbed by other spirits. Using Robert Moog's earliest synthesizers, Bley and Peacock apply the strategic use of silence to indicate its reflective nature with captivating results. A statement of immensity through synthetic minimalism and a milestone in the avant-garde, free jazz movement. Guests musicians: Han Bennink (drums) on "M.J." and "Gargantuan Encounter", Mario Pavone (bass) and Laurence Cook (drums) on "Richter Scale" and "Dual Unity".

I needed to do some recording to cheer myself up. The studio I usually use was booked all month, but before the disasters of Brexit & Covid I’d met pianist Yves Meerschaut in Gent, and he’d shown me his recording studio, Room 13, and that did have a couple of days free in January… I decided to make a record of old songs that other people have liked, and / or that I play differently now, and / or that haven’t appeared on vinyl before. So, here, there’s: “Pennypot Lane”, a fox song that people like, “Winter Turns to Spring” that was Tony Benn’s favourite song, “The Blue Sea Says Yes”, a song about how the sea welcomes us all, heroic or fragile, equally in our mortality (something like that anyway) , that I had forgotten about till people started saying how much they liked it, “More Than Enough”, that Roy Bailey and Martin Simpson have kindly rescued from the obscurity of its previous appearance on a CD in 1992, “Babbecombe at the Closing of the Day”, a song about going to Babbecombe model village, “At the Siege of Madrid” which quite a few people like, but is one of those songs that always somehow eludes a definitive performance, “A True History of Couscous”, a song I like that is more or a less fictionalized autobiography, and lastly.. “You Don’t Have to Say Goodbye”. This is a song from my first CD; Thames Valley folk-stalwart Terry Silver used to enjoy performing it so that afterwards he could shock audiences who’d been happily singing along to it by revealing it had been written by that dreadful lefty Robb Johnson, It’s also, more recently, a song our son Arvin likes very much too, and he graces this version with his characteristically modest tasteful Spanish guitar playing. He also nagged me into doing the artwork for the cover. Three of these songs are lucky enough to have Yves’s breathtaking, exquisite piano playing embellishing them, and Sian Allen gifts “Madrid” some beautiful trumpet accompaniment too. But primarily, for good or ill, it’s mainly me with an acoustic guitar. Robb Johnson, May 24. “in my view one of the best songwriters this country has produced in many a year… the appellation National Treasure is often over-used, but in Robb’s case it is entirely appropriate (St Edith’s Folk) // “an English original”, (Robin Denselow, the Guardian) // “a national treasure” (Mike Harding) // “one of this country’s most important songwriters (no argument!)

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Stefan Ringer serves up his finest ATL house bounce on this stellar link up with Jazz musician and fellow ATLien Marquinn Mason, pushing their sound into new unchartered territories. Journeying through House, Broken Beat and even a lil' Latin Jazz, the two talents compliment each others styles beautifully. The EP joyfully creates a new dynamic, without skipping a groove or missing a beat. Impossible to ignore on Stefan’s step by step instructional call to the dance floor on title track ‘Bounce Lesson’, a definite delight for the dancers. That bounce then rattles through the EP’s other two tracks ‘alltogethernow’ and ‘Lead Walk', where the grooves get even looser, deeper and more bugged out.

For those unfamiliar, Stefan Ringer is a pillar of Atlanta's electronic music scene and is a long time collaborator with house music OG and NDATL label boss Kai Alcé as well as with Ash Lauryn and Ben Hixon. Under his previous Rekchampa moniker he has released a number of classic EP’s through the infamous Peoples Potential Unlimited label.

On his new album, Samurai, Lupe retreats inward to give fans one of his most personal albums in his deep catalog. “I sometimes get tagged by my fans as not doing personal records,” Lupe says, “but I always tell people there's me in there if you listen closely enough. This album is one of my more personal records to date. It's not a full biography, but my personal experiences are tied up in all of my music. A lot of the records are me. Some are from the POV of a character. and some are me. The album weaves things from my life as an artist, touching on things other artists go through.” The narrative follows a battle rapper through various moments in his career, starting with how they honed their battle rap skills, following their career through different moments. Musically, the new album finds Lupe delighting in the simple pleasures of assembling assonant syllables into playful and poignant narratives. The 8-track album is smooth, yet cerebral, brimming with ideas, but always radiating Lupe’s pure love for the art of emceeing and committing himself as a servant of the rap game. The album was produced in full by longtime collaborator and friend, Soundtrakk (“Superstar,” “Kick, Push,” “HipHop Saved My Life”), their second time linking up on a full album after 2022’s DRILL MUSIC IN ZION, and is also the first time Lupe, Trakk, and longtime manager Charles “Chill” Patton were in the studio together since Patton’s release from prison in 2023. “It felt great to be back in the studio again as a family,” Lupe says. It’s the first time they’d worked together in the studio since Lupe’s seminal album, The Cool in 2005. “The word ‘samurai’ means to serve,” Lupe says on the album’s title. “My relationship to that word has always meant that you need to be at the service of other people, either in the overall community, or in this instance, the rap community at large that I’ve been a part of for years. You have some duty, some purpose to serve. The title alone is very important to me. Before rap even, martial arts was my whole life, and it still plays a huge role in my life. The album is me, but also inspired by a quote I heard from one of my favorite artists. The overall themes of the album speak to the constant fight and the battle one goes through being in the entertainment industry. Some of the things we need to defend.”

Big thanks to a certain Mr. Gilles Peterson who first alerted Paul Murphy, Head of Jazz Room Records to this Spiritual Jazz meets Bebop gem when he played the track "I've Known Rivers" on his show on BBC6 MUSIC. Paul immediately took steps to contact Mr. Noviello with a view to release this previously unknown (to him anyway) hidden delight. It's Frank Noviello's debut album and a mixed bag of Jazz Standards and highly original covers and originals. Randy Westons's "High Fly" has a really grooving arrangement, Vocal Bebop in the original "Tribal Dance" and the highlight in the Gary Bartz/Langston Hughes Spiritual Jazz outing "I've Known Rivers". If you're known to glide in and around to that Mark Murphy bag then this is hip to the trip for you!...

GB's debut album, Gusse Music, emerges as a collaged symphony of experimental music with a pop sensibility. Its makeshift compositions, stretched out to linger in memory, offers a 33-minute textural plunge into the melancholy of the infinite – shadowed by loneliness yet illuminated by glimpses of light, a longing for the memories ahead. Tracks bleed into each other, like videos in a feed, momentarily grabbing the listener's attention only to be forgotten again shortly after. However, in the constant stream of impressions, GB patiently strives to inspire new thoughts and conjure an image, quaint and affectionate. From the sludged electric guitars and hypnotic baritone vocals of the opening track "FACETIME," to a solemn, almost Wicker Man-esque, acoustic instrumentation on "CONCRETE CITY," to stoned-out beats and rolling bass on "NEW PLANES”. Gusse Music evokes a world of music that is both welcoming and fun, hauntingly desolate, dark, and gritty. “the world in us, and all the spectacle, so much it hurt, wouldn’t trade anything”

One of the key 45s in the output of Prince Jazzbo's Ujama label during the digital era of the late 80s - originally reissued via NYC's Deadly Dragon some 15 or so years back - gets a much needed new cut & press via Death Is Not The End's 333 series.

The late Earlando Neil aka Early B first started performing on soundsystems in the late 1970s, often appearing with his young apprentice Wild Apache, later known as Super Cat. It was alongside Cat that he is credited as a key driver behind the popularisation of the King Majesty and Killamanjaro stables in the early 1980s, following which he had a string of hit records for the likes of Harry J's Sunset imprint, Ossie Thomas' Black Solidarity and Jah Thomas' Midnight Rock label amongst many others.

Following a run of stellar LPs in the mid 1980s Early B's output began to wane as the sound of digital production began to take precedence, but not without firing off one the most killer shots ever recorded on a computerized rhythm for Jazzbo's Ujama in 1987. Reportedly the first time around for the hallowed Replay version, Imitator's subject matter takes aim at the new kids on the dancehall block ripping off the veterans, while he simultaneously pays hard-earned dues to the dancehall's foundation deejays such as Jazzbo himself, U-Roy, Big Youth, Dennis Alcapone, King Stitch, Trinity & Dillinger.

Things are getting better is a bold statement to make in a time when the world seems to be on the verge of world war 3 and the cost of living is rising beyond most of our reach. Five years ago when I started the Voices of Creation with Jack I knew the world would need new songs, new mantras and prayers for this new day that is dawning. We would need more faith, we would need love, we would need vision, and we would need each other. A part of every beginning is an ending, this is an observable law of nature. So it is with unyielding faith and a hopeful heart that I look out at this world and find reasons and ways to keep moving forward with love; making music that echoes with the sparks of this new world I’m working to see come into view. Things may be falling apart, old ways of being becoming unsustainable; death, war, chaos, genocide, famine, and floods; symptoms of the internal combustion of a society wracked with fear and given more access to weapons than to their own feelings.

This collection of songs are my testimony in a way, a sonic exploration of finding my faith and figuring out how to use my faith to navigate life and this great big old world after losing family (my mother Betty and my brother Keith) and in a way losing my sense of hope for what my future could even be. Through the writing and singing of these songs I healed myself of the doubt and mistrust of the unknown. I found a way to forge my faith into what is now a mighty sword of song, community, and ministry with the intention of healing myself and others. I’ve always felt as though melody and language were tools that could be agents of change and healing if used with intention and integrity. To witness the expanding joy and shared purpose grow within the choir and to see the contagious nature of faith and togetherness through our rehearsals and shows showed me how necessary it is to the human experience. This has been truly revelatory, further anchoring me in what I feel my purpose is on the planet; and that is to sing and bring to life more joy, peace, love, community, unity, faith, and praise. With more of those energies flowing around the planet, things will surely get better and better and better…ad infinitum. Word to Nina, Jimmy & Betty, and all my angels and ancestors riding wit me. We still here and God is still good.

"An artist's duty, as far as I'm concerned, is to reflect the times." Nina Simone

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer `What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.

The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.

Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).

The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.

As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.

A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound.

Les Disques Bongo Joe are proud to be home of the new volume of DJ soFa's well known curation work Elsewhere series with Elsewhere CC! This ninth exploration of our beloved Bruxelles based cratedigger and producer (Mameen 3, Nyati Mayi & The astral Synth Transmitters, ...) is an ode to summer and groove!

The ninth edition in the Elsewhere series is a real digger’s paradise of tropical gems, from Trinidad to Brazil, Poland, Dominica, and beyond. The compilation is an eclecticmix of outernational, tropical-wave, Calypso, multi-rhythmic percussive beats, lo-fi disco jams, and other such styles that lie somewhere in that magical in-between zone. Compiled by Brussels-based DJ, tastemaker and producer soFa, Elsewhere Vol.9 CC is a perfect collection of Balearic, good-vibe, sunshine rarities, to soundtrack a cocktail session on a reclusive, tropical beach, featuring rare tunes and some of the artist’s own unique productions and collaborations.

Modern day selector, 7” detective, international cratedigger, and self-styled musical activist DJ soFa, aka. soFa Elsewhere, is renowned for his borderless approach to curation. Adapting his unconventional and radical approach to DJing to his acclaimed compilation series, soFa’s goal has always been to expand horizons, highlight scenes, and tell stories. And herein lies the beauty behind the latest edition in the Elsewhere series. Behind every great record, is an even bigger story, and Elsewhere CC, has plenty of them...

This is the first release from "Wenha", the successor label of "Tribe", which was established by Wendel Harrison in the 70's. This album is full of spirituality and blackness, and it retains the philosophy of "Tribe", but it also incorporates the smooth feeling of the early 80's. This is the first release from "Wenha", the successor label of "Tribe". This is the first release from Wendel Harrison's "Wenha" label, the successor to "Tribe" and a collector's item that has always fetched high prices for its original version, but it has been highly acclaimed not only for its rarity but also for its content, which has made many experts in the industry gasp in delight. This is a superb gem that has made many pundits roar not only in terms of rarity but also in terms of content! The players on the side include Phil Ranelin (Trombone), Harold McKinney (Keyboards), Roy Brooks (Percussion), and many other Detroit heavyweights, including Phil Ranelin (Trombone), who founded the Tribe together. The album starts with "Take Time Out" (A1) featuring soulful vocals, followed by the spiritual jazz "Pink Snowballs And Violet Skies" (A3) with its exhilarating bellow, and then the jet-black groove-filled jazz funk number "Where Am I?" (B1) is a truly historical document that beautifully captures the transition from the '70s to the '80s!
For this reissue, the 7inch "No Turnin' Back / Rocket Love" released at the same time on "Wenha" has been added to VINYL as a BONUS DISC, and a bonus track "Patrina's Dance" (B3) has been added to the LP. This is the latest reissue of the album in a completely new guise!








[h] C1. No Turnin' Back [7-inch]
[i] D1. Rocket Love [7-inch]

The quality of the songs, including IMPRESSIONS, is also endorsed by the songs provided to CURTIS MAYFIELD and CHI-LITES, and the euphoric upsurge from the light guitar cutting to the percussive beats will get the floor going at once! Free soul full of killer songs including "DISCO CITY"!

Meditation Blue" was produced in Minneapolis in 1977 by Ernie Story, an SSW & producer who provided songs for The Impressions, The Chi-Lites, Curtis Mayfield, and many others. The simple jacket of this private pressing is very tasteful, but the high quality sound of this album has always been sought after! The album features the superb free soul "DISCO CITY" (A5) with its light cutting guitar and percussive groove, the instrumental number "The E Groove" (B2). The album is now finally being reissued and includes many gems such as "Chain Gang" (A4), a song with soulful vocals and a groovy band sound!

This work has become more popular in recent years because of its gentle style. Of particular note is the masterpiece "Walk The Way Of The New World," which is beautiful to the core due to the balance between the mellow electric piano melody, light flute, a flowing track with female scat, and Madhubuti's heroic poetry. The plaintive and mystical tone of the song is ear-catching. The funky, high-speed jazz of "Talking Stick" and the fast-paced title track "Rise, Vision, Comin" are also superb. This is a masterpiece of an album that is even better than "Medasi".

We Could Be Flying" is a rare and classic album by KARIN KROG, a world-class jazz singer from Norway, which has been loved since its original release in 1975. The presence of New York pianist Steve Kuhn, who also composes four of the nine tracks, creates a masterpiece that combines a mellow, gentle comfort with a jazz-like groove. The album starts off with the title track "We Could be Flying" with its solidly sounding rhythm and soulful Karin's vocals, followed by "Meaning Of Love," and the album starts off with a sound that is sure to please fans of jazz-rock. The fourth track is a cover of Joni Mitchell's "All I Want," which not only has a pleasant jazz feel, but also a groove that reaches its peak with the interplay of drums and piano and other instruments, making it a must for fans of jazz, rock, and American music. The sixth track, "Raindrops, Raindrops," and "Hold Out Your Hand" also challenge the listener with a danceable samba style, making this an excellent album in its own right!

Limited edition. Very important tunes with 2 efficient dancefloor tunes and 2 mental anthems. A record to confirm the Sound System Culture is still on the case with the Hardtechno. Some are dying for it... and some are killing it. Choose your side.

Cardinal Fuzz / Feeding Tube Records in collaboration with Deep Water Acres and in tribute to Sunrise Ocean Bender Records bring to you: Elkhorn – ‘Other Worlds.’ Drew Gardner and Jesse Sheppard, the two-guitar duo of Elkhorn, share a musical brotherhood that spans several decades. From their nascent high school socialist-realist post-punk band Mayfirst, to teenage scavenger trips to the Princeton Record Exchange and City Gardens, the two came of age goofing along to the Dead Kennedys, the Butthole Surfers, and Sonic Youth in the dank Jersey/Philly-scene music holes. Elkhorn has long traversed the valleys between fried cosmic psychedelia and American Primitive, particularly the latter style’s reverence for a wide range of folk and blues idioms ranging from County Records compilations to the Mississippi Sheiks. While the pair is best known for their acoustic guitar explorations, ‘Other Worlds’ continues their recent experiments with other instrumental possibilities. For instance, on the previous Elkhorn release ‘On the Whole Universe in All Directions,’ Drew switched to vibraphone and drums, with Jesse playing 12-string guitar. ‘Other Worlds,’ on the other hand, finds them in a recognizable ‘rock trio’ format (in improvisational mode)—Drew is on electric guitar, with Jesse playing bass, and they are again joined by Ian McColm on drums, with the free-flowing groove he brings. On the opening track ‘Watching the Skies’ you can feel the forward propulsion this—dare I say—power trio sets up, a cosmic widescreen which Elkhorn proceed to rock and groove across the whole of ‘Other Worlds.’ Three flawless musicians in their own right, together they form a telepathic psychic link that taps into the otherworldly flow that is ‘Other Worlds,’ as the synergy created by Jesse and Ian leaves Drew plenty of space to take off on exhilarating and soaring flights of fuzzy haze fire that results in a musical journey toward transcendence. Elkhorn demonstrate again and again that there is no height they won't scale, no direction they won't travel. Have Elkhorn ever sounded as heavy or as on fire as the recordings laid down here? You be the judge. The trio is multitudes. The trio is one. Mastering - Chris Hardman Artwork - Brett Savage

John Birks "Dizzy" Gillespie (1917 - 1993) was a legendary trumpeter, composer, and bandleader. Gillespie was praised worldwide for his trumpet playing, using not just any trumpet, but one with a bell bent at a 45-degree angle. The unique shape of the instrument, according to his autobiography, was not intentional but the result of an accident. Fortunately, Gillespie liked the altered sound, and this unique shape and sound became the artist's trademark.

Gillespie began playing the trumpet at the age of 13 and formed his first big band in 1937 with Teddy Hill (1909 - 1978). Later, Dizzy Gillespie led his own big band from 1946 to 1950, making pioneering contributions to the jazz world. Gillespie was a versatile musician, known not only as a memorable trumpeter but also as a fantastic pianist and trombonist. He even made an unsuccessful bid for the presidency.

In the 80s, Dizzy Gillespie gave some beautiful and unforgettable performances at North Sea Jazz, and thanks to NSJ Records, NTR, AVROTROS, and MOJO, this legendary concert is now available on LP!

Dizzy Gillespie is one of the LPs that is part of the North Sea Jazz Concert Series. Other concerts in this series feature artists like Dizzy Gillespie, Ray Charles, Dexter Gordon, and Jan Akkerman.

The North Sea Jazz Concert Series will include officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records will be captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk

Buddy Rich (1917 - 1987) was described and announced around the world as 'The World's Greatest Drummer.' Rich is still considered one of the most legendary drummers of all time. A master of his instrument, his technique, energy, and speed were praised globally. The jazz drummer and bandleader began his drumming career as a child. When Rich was 18 months old, he started playing the instrument and later performed as a child, becoming known as 'Traps the Drum Wonder.'

Buddy Rich always sought to surpass himself; the next show was always better than the previous one. Nothing could hinder this goal—not even a broken arm or a heart attack could stop Rich from giving a better performance than the last.
In 1978, Buddy Rich and his 14-piece big band played a spectacular show, and thanks to NSJ Records, NTR, AVROTROS, and MOJO, this legendary concert is now available on LP!

Buddy Rich is one of the LPs that is part of the North Sea Jazz Concert Series. Other concerts in this series feature artists like Dizzy Gillespie, Ray Charles, Dexter Gordon, and Jan Akkerman.

The North Sea Jazz Concert Series will include officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records will be captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk.

KEYS has just completed their second album, “The Grand Seduction”. This all-keyboard band is the brainchild of singer Jake E (Cyhra, Amaranthe and others) and keyboardist Mark Mangold (Touch, Drive, She Said, Michael Bolton, Cher, Paul Rogers and others) with Emanuel Bagge (Sweden’s Got Talent Finalist) on additional vocals and keys, Irwan Fabrien (noted keyboard guitar sound designer) with help of drum gurus Alex Landenburg (Kamelot, Cyhra and others).

Featuring live performances with three keyboardists and a huge battery of keyboards, this ambitious band brings keyboard and instrumental prowess to new heights while playing songs that run the gamut from scathing progressive melodic forays to catchy and melodic rock anthems …and Jake’s award-winning voice (Burrn Vocalist of the year 2020). Previous KEYS album also featured guest keyboard additions by Charlie Calv of Angel and others.

Though songs are first and foremost, this band shows the versatility of keyboards in this day and age. These artfully crafted songs are ripe with scathing synth, organ and “guitar” pyrotechnics, dazzling time signatures and drumming, bombastic choruses and “guitar” riffs (played on keyboards with the now available plug in’s that perfectly emulate guitars). As Mark and Jake are first and foremost award winning songwriters, they never lose sight of the composition and melodies, though couched in the very signature and hard to pigeon hole sound (isn’t that the whole point?) of this band and Jake's 4 octave vocal range.