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Lady in Satin was released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is legendary singer Billie Holiday's penultimate album completed by the singer and released in her lifetime (her final album, Billie Holiday, being recorded in March 1959 and released just after her death).

AllMusic says: "The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. 'You've Changed' and 'I Get Along Without You Very Well' are high art performances from the singer who saw life from the bottom up."

The song material for Lady in Satin derived from the usual sources for Holiday in her three-decade career, that of the Great American Songbook of classic pop. Unlike the bulk of Holiday's recordings, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years, this time in the contemporary vein of Frank Sinatra or Ella Fitzgerald on her Song Books series. The album consists of songs Holiday had never recorded before.

Bandleader Ray Ellis used a 40-piece orchestra, complete with horns, strings, reeds and even a three-piece choir. It would turn out to be Holiday's most expensive music production. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J. J. Johnson.

Now with our 45 RPM release, mastered from the original analogue tape by Bernie Grundman, and pressed by our own Quality Record Pressings, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Original album produced by Irving Townsend, and engineered by Fred Plaut.

ONLY ONE MUSIC presents Sould Class Feat. Tim Fuller - Best Laid Plans EP (ONLY20)

Soul Class is the team of producer Vernon Douglas (Deepen Sound, Fresh Meat, Woodwork) and vocalist/ lyricist Tim Fuller(Classic, Bombay, Nordic Trax).
Together they aim to make house music that is soul-touching and classy in its production style. No frills, no gimmicks-just great house music to dance to for years to come.

Heavily inspired by the Round series on Main Street Records and Prescription/Ron n' Chez, Soul Class keep the vibe alive with a song about searching for love and true friendship.

Their friend, Jay Tripwire adds a future house remix to round things out.

South African production duo of Emil Zoghby and John Galanakis were responsible for a string of high-quality disco singles in the early 80s, typically cover versions of international hits — Klein & MBO’s ‘The Big Apple’, Sly & the Family Stone’s ‘Family Affair’ & David Joseph’s ‘You Can’t Hide (Your Love From Me)’ — backed with their own compositions. When Starlight hit the market with an album in 1983, it featured only one cover, the local hit ‘Picnic’, along with five of the duo’s original compositions, including their similarly styled response, ‘Picnicing’, which replaces the original’s sax with spaced-out synth stabs. Then there’s ‘Jah Jah Love’, an ecstatic disco sermon of dancefloor dynamite weighing in at over eight and a half minutes. Other tracks on this landmark album — ‘Let’s Go Dancing (Boogie Boogie)’, ‘Keep On Moving’ and an eponymous instrumental — offer a similar fusion of classic disco with newer Italo and proto-house influences: machine music with a human touch! Remastered from the original master tapes and reissued for the first time, Starlight will be available on vinyl and digital platforms from early 2023 (40 years after its initial release) via Afrosynth Records.

White Vinyl

Rico Friebe emerges with his emotionally charged double single „This Day“ and „Leave And Go“.

Born out of tragedy and hope, these songs are preluding his debut singer album „Word Value“ to be released worldwide in April 2023.

"Sounds sublime" - Gilles Peterson

"What a delightful, excitingly beautiful album. From "At Once Familiar " all the way through to "Same as Before" everything song feels and sounds sonically glorious. A modern day classic" - Nightmares On Wax

Taking a short sabbatical from their journey into the spiritual stratosphere and beyond, Work Money Death landed on terra firma just long enough to record a follow up to the critically acclaimed "The Space In Which The Uncontrollable Unknown Resides Can Be The Place From Which Creation Arises". The new album "Thought, Action, Reaction, Interaction" explores many of the meditative motifs that mould this unique group in their quest for the perfect sound and space. Those who are familiar with Work Money Death will know their output is as much an adventure for the listener as it was for the musicians.

"Thought, Action, Reaction, Interactions" is a salute to the now sadly deceased master of the spiritual sound Pharoah Sanders, and in particular the spontaneity of his recording process.

Each of the four tracks on "Thought, Action, Reaction, Interaction" were recorded in one take with no rehearsal and while the players may have known where they were starting off none of them were sure where they would end. As much as it is entertainment, and have no doubt this LP is an unctuous, spirit-smoothing joy from beginning to end, this is an experiment of making music in the moment. Spontaneous and spiritual in its truest sense, "Thought, Action, Reaction, Interaction" is a work of innovation and unsurpassed beauty.

"At Once Familiar" is a rising salute to the day, meditative, moving and fierce. An introduction to Burkill's emotive style, at once sweeping and succinct. It fills a room, and your head, with a very real sound, rich in texture and spirit.

"Freedom As A Heartfelt Song" is buoyant with harp, the spirit of the Yorkshire Pharoah is never more to the fore. Visceral sax rides over and uplifting backing, symbiotic and pinioned with power and beauty. Think Sun Ra horns meets Don Ellis brass.

"Song Of Healing" drifts on a river of music, guided through the rapids with a heartbeat bass line. This is temple sombre, with Eastern flavours and an overarching calm. A communion of sound, a master class in the understatement and power of the slow note, deceptively light.

"Same As Before" is spoken word playing foil to the call and response of the brass, dancing alongside and against each other. Spiritual vibrations cement ethereal forms to substantive sounds. A prayer to change."

As with the previous Work, Money, Death release (which was recorded in difficult conditions due to the Covid pandemic) the aim was to recreate a situation, in this case the impromptu and unrehearsed recording sessions of Sanders in the late 60's and early 70's, everything recorded in one take, creating a body of work that is a strong nod to a certain time and ethos but not a pastiche of it.


““Sounds sublime””
Gilles Peterson — BBC6, WorldWideFM

““What a delightful, excitingly beautiful album. From “At Once Familiar “ all the way through to “Same as Before” everything song feels and sounds sonically glorious. A modern day classic””
Nightmares On Wax —

With their head-bopping, hip-thrusting, zalghouta-inducing tunes, Restless Leg Syndrome have tastefully-crafted a mélange of global references and in their work. The Vienna-based group is made up of longtime DJ and producer d.b.h and turntable maestros Chrisfader and Testa.
Over the course of 2021, RLS dropped four eclectic EPs that seamlessly fuse long-forgotten tunes with foot-stomping breaks

We've selected two hits from "Totem" and crafted this delicious 7" inches!
Side A sees the standout track "Represent the Fucking Planet", that really underscores the trios' appreciation for drums that knock.
On the B side we take a deep dive into our most hidden inner-self with the hypnotic "Spirit".

Orange Vinyl

With their head-bopping, hip-thrusting, zalghouta-inducing tunes, Restless Leg Syndrome have tastefully-crafted a mélange of global references and in their work. The Vienna-based group is made up of longtime DJ and producer d.b.h and turntable maestros Chrisfader and Testa.
Over the course of 2021, RLS dropped four eclectic EPs that seamlessly fuse long-forgotten tunes with foot-stomping breaks

We've selected two hits from "Totem" and crafted this delicious 7" inches!
Side A sees the standout track "Represent the Fucking Planet", that really underscores the trios' appreciation for drums that knock.
On the B side we take a deep dive into our most hidden inner-self with the hypnotic "Spirit".

After Prette (pronounced as ‘pret’ which means fun in Dutch) successfully launched a stage to perform art, it only felt natural to also launch a platform to release art.

Prettemusic is an independent imprint that releases limited vinyl records.

Prettemusic hits the ground running with its first release – a stunning four-track debut EP from head honcho Koperblond. Koperblond (real name Wouter Beek) delivers a mix of Arabic hip-shaking and emotional trance euphoria to evoke intense dance floor ecstasy.

The opening track is ‘Kunti’, an Italo disco destroyer with a bold Bollywood spirit that will lure you in and awaken those hips. Next up is a remake of the brave starter – this new cocktail with hints of the original track has a high-energy zap-crazed feel and a groovy-moving non-stop sound. Two 100% floor fillers, guaranteed to raise the roof of your nearest discotheque!

On the flip side ‘I Want Your Love’ – an emotional love story with a journey through the track that feels like a taste of real love. From happiness and grief to hope and hopelessness, it bursts loudly and with great force. It is a true reminder that love will save the day. Multi-instrumentalist DJ and producer Rose Ringed reinterprets this ode to love using his typical sound palette. The result is a big room banger ready to be served alongside fireworks and CO2 cannons. It is Rose Ringed’s first vinyl outing following releases on his label, Closed Eyes Records, and Solomun’s world-famous Diynamic.

This Prettemusic release comes on exclusive Koperblond-coloured (copper blond in Dutch) vinyl alongside a unique two-front artwork from abstract painter Harry Markusse and fine-art photographer Pieter Bas Bouwman.

For the past 20 years Nostalgia 77 has become a catch all for the musical life of Ben Lamdin. His schizophrenic offerings range from songwriting sessions, soundtracks, excursions into Soul and in this case Jazz. The Loneliest Flower in the Village is an album that sees Lamdin reunited with longtime collaborator and arranger Riaan Vosloo and experienced veterans from a host of Nostalgia 77 projects.

'It had been a long time since we'd gigged or recorded so the idea was as much a little reunion in the studio as any grand plan to record an album' says Lamdin. 'The idea wasn't to do anything new (the material is both a few originals and a few covers), more just hear these players and their easy familiarity with each other after the disruption of Covid'.

Playing a clutch of originals by Riaan Vosloo and James Allsopp and covers by long term influences from South Africa such as Chris MacGregor and Abdullah Ibrahim, the emphasis is on strong melodies and open reaches for the soloists. The title track draws upon the song written by South African bassist Johnny Dyani and the result is spectacular; British jazz at heart but awash with references to South Africa and its strong jazz heritage.

'I'm pleased to say that I think this record is the best account of how the band (playing in this lineup since about 2010 ) sounds live. Full of energy and ranging from serene to firing on all cylinders.'

Few acts have better captured angst and the agony of young love other than The Everly Brothers. As well as those inimitable harmonies, fantastic songs and Chet Atkins' superb production, the Everlys' success owed much to the fact that Don and Phil were barely out of their teens, and so filled every song with real feeling. Their first recordings led to a series of hits that would come to define the harmonious Rock & Roll of the period; Bye Bye Love, Wake Up Little Susie, All I Have To Do Is Dream, Claudette (penned by Roy Orbison), Bird Dog, Devoted To You, Let It Be Me, When Will I Be Loved, So Sad (To Watch Good Love Go Bad), Walk Right Back, Ebony Eyes and Crying In The Rain. For their influence on The Beatles alone, the Everly Brothers are owed a huge debt of gratitude. The collection of songs found here span Country, Folk, Rock & Roll and Pop, and demonstrate just how influential Don and Phil were on popular music, beginning with those very first sessions in front of their parent's microphone.

Few acts have better captured angst and the agony of young love other than The Everly Brothers. As well as those inimitable harmonies, fantastic songs and Chet Atkins' superb production, the Everlys' success owed much to the fact that Don and Phil were barely out of their teens, and so filled every song with real feeling. Their first recordings led to a series of hits that would come to define the harmonious Rock & Roll of the period; Bye Bye Love, Wake Up Little Susie, All I Have To Do Is Dream, Claudette (penned by Roy Orbison), Bird Dog, Devoted To You, Let It Be Me, When Will I Be Loved, So Sad (To Watch Good Love Go Bad), Walk Right Back, Ebony Eyes and Crying In The Rain. For their influence on The Beatles alone, the Everly Brothers are owed a huge debt of gratitude. The collection of songs found here span Country, Folk, Rock & Roll and Pop, and demonstrate just how influential Don and Phil were on popular music, beginning with those very first sessions in front of their parent's microphone.

Following his discharge from Army Service in 1960, Elvis Presley and his Manager Colonel Tom Parker had eschewed live performance and concentrated instead on Elvis's burgeoning film career. A steady stream of record releases kept Elvis's worldwide audience of fans happy, and June 1962 saw the release of this non-soundtrack LP. Pot Luck reached No.1 in the U.K and No. 4 in the U.S.A due to the compositions Kiss Me Quick, Suspicion (which went on to become one of his outstanding songs of the period), I'm Yours and That's
Someone You Never Forget (co-written by Elvis with Red West). By the end of 1962, Elvis was set to remain at the top of the tree. But this was the year which saw The Beatles and Bob Dylan make their recording debuts. The times were, indeed, a-changin'!

Intervention Records is thrilled to announce the latest release in its (Re)Discover Series, a 100% Analogue Mastered 180G LP of “The Fantastic Expedition of Dillard & Clark,” featuring singer-songwriter Gene Clark and banjo genius Doug Dillard!

"The Fantastic Expedition of Dillard & Clark" is Intervention's first 180G LP to be pressed at Gotta Groove Records in Cleveland, Ohio. In addition to having a FIRM production schedule and shipping dates that we can absolutely rely on, GGR is the only plant we've found that we believe can meet or exceed our stringent quality standards. GGR replaces its 180G stampers every 500 records just how we like, and Matt Earley and his team press beautiful records with an AMAZINGLY low noise floor !

What a time 1968 was for the burgeoning country rock scene! Gene Clark and Gram Parsons had introduced rock fans to some country flair with The Byrds’ “Sweetheart of the Rodeo.” After Sweetheart, Parsons broke auspicious new ground with The International Submarine Band (just a year before he’d make The Flying Burrito Brothers’ “The Gilded Palace of Sin”), while Gene Clark teamed with banjo genius Doug Dillard for this bluegrass classic, “The Fantastic Expedition of Dillard & Clark.”

The picking virtuosity of Dillard, Bernie Leadon and others on this LP meshes beautifully with Gene Clark’s soulful vocal presence and guitar. The repertoire is endlessly fun and engaging, but punctuated with somewhat somber Clark offerings like “She Darked the Sun” and “Something’s Wrong.”

Country rock is familiar ground to Intervention fans, as we’ve already tackled greats from The Flying Burrito Bros., and Gene Clark’s amazing solo effort “White Light.” This is the roots of the music that paved the way for the Eagles and countless others.

The Fantastic Expedition of Dillard & Clark is 100% Analogue Mastered from the 1/4" 15-ips Original Master Tapes by Kevin Gray at CoHEARent Audio! The tapes sound beautifully dynamic and alive, with tuneful bass, extended highs and three-dimensional imaging. The IR cut has better separation and punch than ANY previous version of this amazing record!

The Art and Soul of Network is well and truly captured on this beautiful collection.

Fittingly for a remix selection, Network’s iconic artwork is reconstructed by Trevor Jackson, the designer of those original graphics. He has lovingly reworked the maverick indie house label’s distinctive branding for this 2 x 12 double album selection which rewinds to some of Network’s finest moments.

Network was based in Birmingham but as this release demonstrates had an international outlook and an alchemist touch for joining together disparate talents which lent itself well to the world of remixology.

Dave Lee’s remix,when he was working under his Joey Negro pseudonym, of The Reese Project’s awesome Direct Me is arguably his finest ever work. The original track fused Detroit electronica with the Motor City’s ever present Soul Music stirrings. Dave simply made the superlative perfect . The result was not only an iconic Network release but one of House Music’s greatest recordings.

There was possibly no better example of Network’s deft touch when it came to selecting unlikely combinations of people to work together than Day By Day. . Andrew Pearce, a raw but incredibly gifted 18 years gospel singer, was plucked of the streets of Wolverhampton and promptly despatched to Detroit where producer Kevin Saunderson and songwriter Ann Saunderson gave him the complete Reese Project template on the mesmerising Day By Day. Then Chez Damier & Ron Trent were drafted in to create their Urban Sound Gallery masterpiece of a remix. It truly is a gem.

Ann Saunderson is also central to Surreal’s hypnotic Happiness, not only as songwriter but as the vocalist too. Network then did their “let’s try this” thing by letting loose Italian house godfathers The Fathers Of Sound on the track parts. They threw down and created a progressive (but dreamy) house anthem that is to this day massively in demand.

Slo Moshun’s game changer (House slows down into Hip Hop then ramps up back into House) Bells Of New York was produced by Mark Archer & Danny Taurus.It became huge literally overnight. Various attempts to remix it were tried but in the end it was back to Mark who demonstrated that sometimes the original creator of a track is best able to re-imagine it by coming up with his much loved Beefy Bells remix.

Inner City’s stark and brutal Ahnonghay saw Kevin Saunderson going back to his Detroit Techno roots. Fittingly it was one of the UK’s disciples of that innovative Belleville Three era,Dave Clarke, who supplied the awesome remix contained here.

Rhythmatic’s Mark Gamble created a British Bleep House anthem with the sledgehammer Demonz. The original won the support of John Peel with repeated BBC Radio plays underlining incessant club plays. Again it’s the original artist who does that remix thing best with Mark’s Sequel mix managing to improv his classic original.

Neal Howard’s Indulge was the debut Network release. His music sounded like it was from another planet and he was hailed as Chicago’s answer to Detroit genius Derrick May..Here we present Derrick’s Mayday remix of To Be Or Not To Be which was the flip to Indulge. This was Network’s debut release, and it is hard to imagine a label having a more euphoric greeting card.

The album concludes with a remix of a track recorded at a live concert in 1989.. To be clear THE TRACK that defined that year’s Acid House cultural revolution. Derrick May brought along Carl Craig to perform with him as Rhythim Is Rhyhim when invited to support Inner City at London’s Town And Country Club . Luckily Kool Kat - the predecessor to Network - recorded for posterity an historic rendition of Strings Of Life. Roll on a few years and Network went into the vaults and asked Ashley Beedle to work on the tape. He completely remoulded it and conjured up a new incarnation of Strings Of Life.

Network - we coninue…

The alis of a UK techno producer, San returns to Rua Sound with another statement of intent - "no other junglist delivers this power".

San was born out of the clear necessity for jungle futurism, breakbeat terrorism and hardcore sub bass gangsterism.

The illusive producer's second record on the label is a masterclass in dark jungle choppage dripping with futurism and dread. Fans of Source Direct take note.

This is a licensed reissue of the track featured on the album “On The Beach”- Treasure Isle – 1967.

This gorgeous and haunting song boasts remarkable singing and musicianship allied to the finest song-writing.

A Rocksteady masterpiece that totally deserved being released as a single at last.

this is a special limited edition - strictly limited to 500 copies - one release only

The Paragons were originally called “The Binders”, a band that comprised Keith Anderson (better known as Bob Andy),

Garth Evans (aka Tyrone Evans), Junior Menz, and Leroy Stamp. In 1964 John Holt and Howard Barrett replaced Menz,and Stamp

and the name was changed to The Paragons. Anderson left in 1965, and The Paragons continued as a trio.

After John Holt left to pursue a solo career, Vic Taylor took Holt's place. The trio initially recorded two outstanding albums: the legendary

“On The Beach” 1967, and the equally good “Riding High“- later renamed “The Paragons with Roslyn Sweat” - in 1974.

Most of their many masterpieces come from these two albums... They carried on recording more albums, the latest being

“The Paragons Return” with John Holt. In 1980 Blondie covered their song "The Tide Is High" with great international success.

Today “On The Beach” is considered by many as the definitive Rocksteady L.P…

Die neue Ausgabe der Bootleg Series von Bob Dylan, "Fragments - Time Out Of Mind Sessions (1996-1997): The Bootleg Series Vol. 17" erscheint als 5 CDs umfassendes Deluxe Boxset sowie als Standard-Version auf 2 CDs oder 4 LPs. Sie enthält in der Standardversion das Album "Time Out Of Mind" in einem 2022er Remix sowie zwölf ausgewählten Outtakes und Alternativversionen. Volume 17 der gefeierten Dylan-Reihe wirft 25 Jahre nach seiner Erstveröffentlichung einen neuen Blick auf das Meisterwerk "Time Out Of Mind" und zeichnet dessen Entstehung nach. Angefangen bei den bislang unveröffentlichten Song-Fassungen aus den 1996er Teatro-Sessions mit Dylan (Gesang, Gitarre, Piano), Daniel Lanois (Gitarre, Orgel), Tony Garnier (Bass) und Tony Mangurian (Schlagzeug, Percussion) bis hin zu (ebenfalls unveröffentlichten) Live-Mitschnitten aus den Jahren 1998-2001. Anfang 1996 begann Dylan, der seit der 1990er LP Under The Red Sky kein Album mit Eigenkompositionen veröffentlicht hatte, mit der Arbeit an neuen Songs. Von August bis Oktober ging er mit Daniel Lanois, der sein 1989er Album Oh Mercyproduziert hatte, ins Teatro Studio in Oxnard/CA, um dort Demos für eine mögliche neue LP aufzunehmen. Als die Songs im Januar des Folgejahres Form angenommen hatten, zog man ins Criteria Studio in Miami/FL um. Die Studiobesetzung wurde aufgestockt, und so fand sich in Florida ein illustrer Mix aus Session-Musikern und Mitgliedern von Dylans Tourband ein: Bucky Baxter (Akustikgitarre, Pedal Steel), Duke Robillard (E-Gitarre/Gibson L-5), Robert Britt (Martin Akustikgitarre, Fender Stratocaster), Cindy Cashdollar (Slide Gitarre), Tony Garnier (Bass, Kontrabass), Augie Meyers (Vox Orgel, Hammond B3, Akkordeon), Jim Dickinson (Keyboards, Wurlitzer E-Piano, Pumporgel) sowie die Schlagzeuger Jim Keltner, Brian Blade und David Kemper. Das Album "Time Out Of Mind", der schließlich aus diesen Sessions entstand, avancierte zu einem Dylan-Klassiker. Songs wie "Love Sick", "Can't Wait" oder "Not Dark Yet" wurden zu Lieblingsstücken der Fans. Mit "Make You Feel My Love" gelang Dylan sogar das Kunststück, dem Great American Songbook einen neuen zeitgenössischen Standard hinzuzufügen. Zahllose Künstler, darunter Billy Joel, Neil Diamond oder Adele, haben diesen Song gecovert. Bei den Grammy Awards 1998 gewann "Time Out Of Mind" in den Kategorien 'Album of the Year' und 'Best Contemporary Folk Album'.

The third release on We Are FTR welcomes Oros to the family with his Inside Out EP, presenting a trio of cuts to perfectly showcase his sound. 'East' kicks things off, stretching out over the full A side with its captivating yet stripped back groove characterised by carefully crafted string samples. On the flip things get deeper, starting with the deceptively powerful 'Rek' which finds the perfect blend of head-down introspection and driving energy. 'Bartolomeo' closes out the EP with its alluring atmospheres sucking you in before more strings give a nod back to the A side and tie everything together perfectly.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

Orange Viny

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

The Outside Agency returns to the Crossbreed Defintion Series to once again show the world how it's done. This release features two fresh collaborations with Pythius and The Satan. The only thing better than one side of this record is the other. Hard as a razor, sharp as a nail. Not to be missed!

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape at times calm, at times turbulent, and ever changing? H.C. McEntire’s new album Every Acre grapples with those themes that encompass grief, loss, and links to land and loved ones. And naming claiming land, claiming self, being claimed by ancestry and heritage permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In “New View,” McEntire cites poets “Day, Ada, and Laux, Berry, and Olds” fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire’s voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: “Bend me, break me, split me right in two. Mend me, make me I’ll take more of you.” Permeated by heartbeat-like drums, “Shadows” develops quiet ruminations on surrender and loss reminiscing, moving on. This ponderous, dreamlike song asks the question of how “to make room.” How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, “Rows of Clover” is a lamentation, one that touches on the loss of a “steadfast hound.” The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers–esque understated soul groove. But what stands out the most is an image of being “down on your knees, clawing at the garden” the only explicit mention of a person in the song. “It ain’t the easy kind of healing,” sings McEntire, seemingly from further and further away as her voice echoes; and healing takes time, time takes time truths that linger painfully. “Dovetail” is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire’s gentle, trembling vibrato harmonized in thirds in a celebratory manner calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions such as wonder, sadness, nostalgia that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre explores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life both stingy and gracious, both hurtful and kind.

1000 black vinyl LPs. London-based ‘indie-supergroup’ SUEP announce their long-awaited debut mini-album Shop, a collection of 6 oddball, car-boot-sale pop songs with a sprinkling of theatrical storytelling. Led by Georgie Stott (of Porridge Radio, Garden Centre) and Josh Harvey, SUEP was born out of a near-decade of playing in sheds and barns with like minded personnel, holding a mutual love for Paul McCartney, Jona Lewie, the B-52s, Devo and other performative freaks enjoying themselves. Following a move to London from Brighton, the pair added George Nicholls (The GN Band, Joanna Gruesome, The Tubs), Will William Deacon (PC World, Garden Centre), and Ollie Chapman (Boil King) to the line-up. The 5 piece take turns writing songs and taking the lead vocal duties in a wonderfully playful but coherent collaboration, with their debut being a kaleidoscopic off kilter pop ride, taking the listener through haunted castles, deprived encounters, days lost to the imagination in bed, and through the integral friendships that give SUEP the energy to keep dancing to their own beat. The album was arranged and recorded in the Red Lion Boys Club, an ex-youth centre in which Georgie and Josh both lived. Using equipment collected by Josh in his travels as a bootsale and market trader, the sports hall was transformed into a makeshift studio for a few days, with sessions conducted by producer Matthew Green (Sniffany & The Nits, The Tubs, etc.) Mark Riley (BBC 6 Music) described SUEP’s debut single and album opener, ‘Domesticated Dream’ (2021) as “perfect pop music.” The joyfully kitsch track brims with a 70s Yamaha disco beat, deep bass, nostalgic drum machines, and hooky melodies. Possibly the most psychedelic and infectious track born out of lockdown, it tackles homelife, drinking too much, and making big plans that never come to fruition, but with a big technicoloured positivity for the future of the human-race, with the chorus’ refrain, “the psychedelic 4000s,” predicting the return of the psychedelic Age of Aquarius in a couple of millennia time. The following single ‘Misery’ (2021) is pure cosmic swing-pop wizardry in part inspired by spy music and The Supremes. Ollie, The track’s baritone vocalist, describes it as “A love song disguised as a song about loss. It's about cherishing the things that matter but it’s also about having the courage to say goodbye,” with each line of the song a small story about a different character. Whilst latest Shop taster ‘In Good Health’ is darkly euphoric like a pleasantly strange meeting of Siouxsie Sioux and Jona Lewie. It’s a playfully discombobulating mix of 80s jangly guitar, chirpy keyboard and moody post-punk tackling mental health, drug addiction, and the power of friendship, written after the song’s vocalist Georgie came out of hospital following a mental health crisis. “I wanted to write a song that encapsulated how important my relationships with my friends and boyfriend were at that time” she explains “…and one that also felt dark like I did at the time. I couldn’t go outside due to anxiety surrounding my health so I stayed inside for weeks. People would visit and watch films with me or let me tattoo them or make music with me. My community helped me recover.” Elsewhere on Shop is ‘Just The Job’ fronted by Harvey and described by him as “About the relief of accepting a menial existence, and allowing life to be boring - but (within that) how the small things are the important ones, how pulling a sicky or extra long lunch break are important things to do for yourself. It’s an anthem for working people who’ve had enough - and a crowd favourite at SUEP gigs. The darker undertones and post-punk angles of the Georgie-fronted ‘Onions’ is inspired by the crapness of cliques, with the band calling the song “A cry of welcome to all;” and finally the hooky ‘Friend of Mine,’ described as “A love letter to all the people that come and go throughout your life no matter how long you know them”. SUEP have received coverage in Independent & Clash, (among many others), with big support from Mark Riley and Steve Lamacq (BBC 6 Music) for early singles.

Konnichiwa! The Courettes go to the land of the rising sun – and they sing in Japanese! The “hardest working band in showbiz” took another step closer to world domination traveling around the globe and landing in Japan in October for a successful tour full of packed concerts, sushi and Japanese rock ‘n’ roll! Their new upcoming 7” single is an outstanding version in Japanese of ‘Daydream’. The English version, from their latest album Back in Mono B-sides & Outtakes, is also included on the flipside. On beautiful white vinyl with red labels (just like the Japanese flag) the record is due out on January 27th on Damaged Goods Records, shipping from the UK to all corners of the western world and beyond. The original release on Japanese label Target Earth / Naris Records sold out by the third day of the Japanese tour. The mix is of course by Japanese Spector aficionado Seiki Sato, who was responsible for the Back in Mono album’s Wall of Sound extravaganza. So, ladies and gentlemen, get ready for one more spit ‘n’ snarl wall-of-sound garage gem with Martin blending class and wildness on the drums and Flavia bursting out on top - in Japanese! Kampai!

The Zephyrs release their brand new album “For Sapphire Needle” on January 27th 2023 alongside Spanish comrades Acuarela, their first since 2010. With only 2018’s double A-side single “The Witches” and “The Crown Prince of Lies” in between, this represents their first collection of new songs in 13 years: from short and tightly constructed country-folk introspections to sprawling, spaced-out psychedelia, including a couple of extremely sharp pop glimmers and a killer Morricone-like instrumental. Originally conceived of as a series of 4 track EPs based on the seasons in which they were created, the recordings spanned into a patchwork of sessions with long-time collaborator and producer Michael Brennan at his Substation studio, neighboring a naval port in Rosyth. The ongoing recording sessions were made possible with the kind support of Robert Dillam, drummer for The Zephyrs and ex-guitarist for Creation band Adorable. With songs ranging from short and tightly constructed country-folk introspections to sprawling, spaced-out psychedelia, what resulted was an album near to double length. The collection presented as “For Sapphire Needle” is a cut-down selection of these songs. The record opens with “Leatherback”, a Crazy Horse inspired wall of distorted guitars drawing on lyrics from The Zephyr’s first album and pre-history, followed by the four songs earmarked for the first of the seasonal EPs – Winter – whose artwork was photographed in the alley behind Traceyann Campbell’s (Camera Obscura) house in Glasgow. Elsewhere on the album, “I tell you what” had much of its writing and recording initiated in a wooden shack near Aviemore and “Bolder” tells the story of overheard bar-side conversations and delayed flights in Denver airport, where lizard people live underground and some say the new world order lays dormant. The domestic depression of “How have you been today” precedes closing opus “Aliens”, inspired in equal measures by the maturation as social control science fiction of The Tripods and the schlock b-movie imagery of Rocky Erickson’s The Evil One. The album is the work of older and more consistent The Zephyrs. Stuart, David and Robert joined by collaborators: guitarist John Brennan and keyboardist Will Bates. The songs and sounds are sculpted out of slabs of time with friends at the Substation, a de facto weekly youth club for musicians who refuse to grow old. The triple bridges of Queensferry, the shipbuilding cranes of Rosyth docks and Babcock's shop - one of the few places in Scotland you can buy a real periscope over the counter - are just some of the backdrops as the Zephyrs rehearse for nobody but themselves. Yet, ever since Jean-Luc Picard himself told us that "this is not a holiday", it has become a unique and unbeatable way of peering up above the waterline, reinventing themselves and returning to the scene. Indeed with 10 songs in 46 minutes which wade across Gram Parsons and Big Star, Slowdive and spaghetti Western: folk, rock and shoegaze… as if they were trying to shorten the path to the California sky passing through Scotland and then Almería in Spain.

box-set clear / vinyl / 180 gr

The Stone Techno Series returns with another exciting compilation. This time alongside a new festival that celebrates forward thinking artists from 9th to 10th of July at Europe's biggest coal mine complex under the UNESCO World Heritage Zollverein. The project is exceptional at its core, bringing back excitement and inventiveness to the genre.

The project functions as a multidisciplinary ever-evolving experiment that brings different aspects together. Sampling, creating and releasing music made out of million years old inorganic materials which shaped and defined the Ruhr Area like nothing else. "Auf Kohle geboren - born on coal" stands for this region and the so-called "German Wirtschaftswunder".

The Stone Techno project wants to embrace the history of "the Ruhrpott" while looking into the future as well. Techno Music stands for upheaval and modernity, while coal is the symbol of the Ruhr Area. This unique project will lend audibility to the ongoing process of transformation in the cultural and natural history of this region. Science and museums crossing paths with contemporary electronic music culture.

The Stone Techno project is not shy of its obvious significance. World-famous Ruhr Museum and The Third Room collective mark a first of its kind of long-lasting collaborations between a techno brand and a cultural institution.

This time the project is conceptually going one step further: Before the final backfilling of the mine at Zeche Zollverein, the acoustic atmos

Limited Loser edition on dark green vinyl. There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Berlin based sound artist Sa Pa delivers AI-33, titled ‘Atmospheric Fragments’. Originally intended as a soundtrack to accompany ten short experimental films as part of a physical exhibition in 2020 curated by Manon Bernard, Atmospheric Fragments was alternatively premiered online as a digital showroom - with its music performed and recorded both live and independently in 2021. 

Atmospheric Fragments was conceived as a collaborative audio-visual project, positing the viewer inside a sonic boom of introspective parenthesis and offering a place for internal dialogues under the circumstances of a largely unknown and rapidly changing modern world. 

Sa Pa’s work presents a fresh sonic reinterpretation of urban landscapes, skylines and modern environments, procuring from its source material a whole new kaleidoscopic world of its own. The record consists of two mixes - ‘Studio’ and ‘Live’ - which demonstrate a deep explorational study of our everyday surroundings, plunging the listener into a realm of heightened sense experience and microscopic detail. Where the ‘Studio’ mix embodies the precision and management of the studio workspace and is more ambient in nature, such intricacies are exchanged for a larger, livelier sound stage and alternative sonic material in the ‘Live’ mix. 

A nebulous ocean of shifting spaces and effervescent textures, Sa Pa augments and modulates field recordings into a fluid and ever-evolving narrative. Seen through a viewfinder of deep and immersive observation, new transients, momentary artefacts and poetry in motion begin to reveal itself. In a world caught in momentary stasis, Atmospheric Fragments is a forensic inquiry into our perceptive environment, with its augmented lens placing us on the cusp of the ungraspable.

It is of course impossible, but we will risk it anyway, because this "Live In Paris" delivers her at her peak: eight tracks recorded at the Olympia between October 1956 and June 1957, and four others at Bobino, in March 61. The singer, who had just begun a film career (which she had not yet anticipated would be highly ephemeral), was at the height of her career. The time of the lean cows and the Taboo is over.

Now firmly established in the forefront of the great performers of French Song, we find her here singing Desnos, Queneau and Mac Orlan, alongside Brel, Trénet, Ferré and Brassens. And it's almost as if we were there: starting with a rare duet with Eddie Constantine, she is accompanied throughout by the quartet led by the piano of the faithful Henri Patterson, and the accordion of

Freddy Balta. In addition to Ferré's famous "Jolie Môme", she delivers here her famous version of Queneau and Cosma's "Si Tu T'Imagines", as well as Brel's "On N'Oublie Rien", and notoriously, Brassens' "Chanson Pour l'Auvergnat".

Embracing his career path as an emcee/entertainer, CRIMAPPLE returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling.

Although devoid of any guest appearances, CRIME is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined CRIME’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where CRIME lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date”.

All in all, El Cantante is a self realization of sorts as the New Jersey emcee shares his current life perspectives as he touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

Hear the immortal sounds of Elvis Presley rockin' the USA from Virginia to Rhode Island, through to North Carolina and Nevada. Greatest Hits Live is
a stunning set that charts his colossal, hitmaking journey from his formative years in Memphis to a worldwide stage as the King of rock 'n' roll. This
is a golden opportunity to hear these legendary hits performed in their heyday, live on stage, in front of his adoring fans. As one of the most
renowned cultural icons of the 20th century, Elvis may have 'left the building’, but he's here in all his glory for a new generation to enjoy. '‘til we
meet again, may God bless you. Goodbye.'
Get Yer Vinyl Out brings together these greatest hits performed by the man himself during his reign in the 70s as the all-time king of rock ‘n’ roll.
Superb, professionally remastered original broadcasts, pressed on Eco Mixed 180g Vinyl and presented in a deluxe gatefold sleeve with background
liners and timeline photos.

The iconic collective CSNY became both a symbol for Woodstock and the late 1960s counterculture sweeping across America. While
the internal dynamics of the band would soon determine its fate, CSNY would prevail by providing generations with a definitive
soundtrack of the period as well as an immense body of inspiring songs that would endure through the decades. The 1970-74
timeline is a golden one for the singer/songwriter and here are four of its finest authors, performing together, on stage as one.
Get Yer Vinyl Out takes you back to that golden era with their Greatest Hits performed across three rare broadcasts that help define
the sound of CSNY. Superb, professionally remastered original broadcasts pressed on Eco Mixed 180g Vinyl and presented in a
deluxe gatefold sleeve with background liners and timeline photos.

With Grammy Award-winning Canadian producer David Bottrill on mixing duties once again, Tellurian (first released in November 2014) sees SOEN coming out of their shell to become undisputed titans of the progressive metal genre. Newly appointed Stefan Stenberg on bass, Martin Lopez (drums), Joel Ekelöf (vocals) and Kim Platbarzdis (guitars) deliver a powerfully infectious and solid sophomore album.

In Tellurian, Soen’s very own stylistic writing finds broader proportions and dimensions, whilst keeping their technical proficiency still very much a defining trait. The haunting melodies and remarkable vocal performance make this a truly impressive opus.

Originally released in a limited number of copies, the currently out of print vinyl format will be re-issued on January 27, 2023 via Silver Lining Music, as the official SOEN-endorsed release.

Chaos & Colour, the energetic and triumphant 25th studio album from British hard rock legends and progenators Uriah Heep, bristles with explosive classic rock guitars, supreme harmonies, and Heep’s famously generous keyboard foundation.

Led by founding member Mick Box, it is no surprise that themes of light, love and, ultimately, positivity are constant through the eleven tracks. Opener “Save Me Tonight” shows the band’s weighty yet blistering chops, whilst “One Nation, One Sun” is a journey of soaring balladic contemplation.

“Fly Like An Eagle” emanates magic and mystery in a way that the late, great Ronnie James Dio would have heartily approved, and “Closer To Your Dreams” is a battle cry for all rockers to get out there and do it, with Shaw imploring that “So many have tried but slipped away/Now it’s time for you to have your say.” Throughout the album, Bernie Shaw’s timeless vocals are expertly supported by keyboardist Phil Lanzon, bassist Dave Rimmer and Box, with Russell Gilbrook on drums rounding out exceptional performances throughout.

Produced at Chapel Studios by Jay Ruston, and engineered by Pieter Rietkirk, Chaos & Colour is a superb album of quality hard rock from the pioneers of the genre who continue to create top class material. Old fans will be reinvigorated whilst new fans will surely find Chaos & Colour an exceptional discovery.

Chaos & Colour will be available to pre-order from November 4, in Black and Coloured Vinyl configurations, as a standard CD Digipak, a Deluxe CD packaged in a hardcover book with Uriah Heep’s Chaos & Colour signature patch and in digital formats.

 Crime & the City Solution’s fifth studio album,
‘Paradise Discotheque’, is reissued on transparent
orange vinyl. This is set to be released alongside
‘Shine’ and ‘The Bride Ship’.
 A band out of time, Crime and the City Solution
were perennial outsiders who could not rest in their
native Australia, and instead found inspiration in
the colder climes of London and Berlin. Their
mesmeric, expressive music evolved through
many incarnations and a great deal of adversity.
 The first incarnation of the band appeared in
1977/78, in the midst of Australia’s nascent punk
scene and re-grouped in London in 1984. The later
line-up of singer Simon Bonney, Einstürzende
Neubauten’s guitarist Alexander Hacke, DAF’s
synth player Chrislo Haas, jazz bassist Thomas
Stern, violinist Bronwyn Adams and Bad Seed’s
Mick Harvey on drums recorded three studio
albums in quick succession.
 Crime and the City Solution’s freedom of
expression and adventurousness reached an apex
on 1990’s ‘Paradise Discotheque’ and its epic ‘Last
Dictator’ saga, which spanned four songs laid out
like chapters at the album’s conclusion. The album
and the variety of styles used on it, from the
metallic sounds of ‘I Have The Gun’ to the magic
realism of ‘The Last Dictator’ quartet, were
influenced by Bonney and Adams’ move to Vienna.
 Unavailable on vinyl since 1994.

15 years after the album’s release, ‘City Of Echoes’ is now
available in a deluxe 2LP edition, newly remastered by
Josh Bonati and featuring a full LP’s-worth of bonus
material, including original album demos, alternate takes,
and pieces originally only available on the rare ‘Pink
Mammoth’ EP.
‘City Of Echoes’, originally released in 2007 by Hydra
Head Records, marked a paradigm shift for Pelican.
Coming off the heels of the glacial ‘Australasia’ and their
even more expansive and acclaimed follow-up, ‘The Fire
In Our Throats Will Beckon The Thaw’, their third album is
a study in precision.
Inspired by their non-stop tour schedule following ‘The Fire
In Our Throats Will Beckon The Thaw’’s release, the
quartet composed ‘City Of Echoes’ to be a lean
powerhouse of non-stop melodic hooks and lurching
rhythms that reflected the energy of live performance.
Guitarists Trevor Shelley de Brauw and Laurent
Schroeder-Lebec trade crisp riffs that twirl in opposition
before thundering together in monoliths. The sheer
amount of potent interplay between the two, often
borrowing from disparate edges of rock and metal at a
whim before completely transforming, is mind-boggling.
Bassist Bryan Herweg and rhythm section compatriot /
drummer / brother Larry Herweg lock into a wider array of
grooves than ever before. Their considered bedrock
guides the band’s dynamics into some of the ensemble’s
most tender moments as well as their most ferocious.
Recorded by Andrew Schneider at Electrical Audio Cover.
Art designed by ISIS and SUMAC founder Aaron Turner,
with photography by Robin Laananen.
Also available to independent retailers on Translucent Blue
vinyl.

15 years after the album’s release, ‘City Of Echoes’ is now
available in a deluxe 2LP edition, newly remastered by
Josh Bonati and featuring a full LP’s-worth of bonus
material, including original album demos, alternate takes,
and pieces originally only available on the rare ‘Pink
Mammoth’ EP.
‘City Of Echoes’, originally released in 2007 by Hydra
Head Records, marked a paradigm shift for Pelican.
Coming off the heels of the glacial ‘Australasia’ and their
even more expansive and acclaimed follow-up, ‘The Fire
In Our Throats Will Beckon The Thaw’, their third album is
a study in precision.
Inspired by their non-stop tour schedule following ‘The Fire
In Our Throats Will Beckon The Thaw’’s release, the
quartet composed ‘City Of Echoes’ to be a lean
powerhouse of non-stop melodic hooks and lurching
rhythms that reflected the energy of live performance.
Guitarists Trevor Shelley de Brauw and Laurent
Schroeder-Lebec trade crisp riffs that twirl in opposition
before thundering together in monoliths. The sheer
amount of potent interplay between the two, often
borrowing from disparate edges of rock and metal at a
whim before completely transforming, is mind-boggling.
Bassist Bryan Herweg and rhythm section compatriot /
drummer / brother Larry Herweg lock into a wider array of
grooves than ever before. Their considered bedrock
guides the band’s dynamics into some of the ensemble’s
most tender moments as well as their most ferocious.
Recorded by Andrew Schneider at Electrical Audio Cover.
Art designed by ISIS and SUMAC founder Aaron Turner,
with photography by Robin Laananen.
Also available to independent retailers on Translucent Blue
vinyl.