Search:plus one

DYNAMITE CUTS and its series of amazing 45s have unleashed another Gem for RSD. This Rare groove club classic has now been shrunk down to a stunning 7”, for the first time. The LP was first released in 1981 along with a single.- which is now a mega-rare collector’s items; selling for £200 plus.
Steve Parks’ big song on this LP is the epitome of Rare groove music in the 90s. almost every club and radio would play this every night – it would be banging out of The Mud Club, Astoria, The Wag and all the other hot, sweaty, but very brilliant, clubs of the 80’s and 90’s. This is definitely on the ultimate soundtrack to that funky era.
This one-off LP and it iconic cover by Steve Parks has been reissued before but never as a 7” and never with a full colour sleeve, Dynamite Cuts’ mini version does both, delivering op-point artwork and finely tuned mastering. Steve Parks is a very private man; this iconic cover only happened because his friend Rico, who coerce him into wearing the shirt as Steve didn’t like it at all. The only way to do it was to take him to Leon’s BBQ by the beach and buy them both a bucket of tips and corn bread.
Don’t miss out!!! - Must have vinyl release – record store day release!

Killing Joke have long been one of rock's most iconic and influential names, with a string of revered recordings to their name. As with all KJ releases, ‘Pylon’ isn’t designed to accompany a quiet night at home; these 10 remastered original tracks plus 8 extra bonus tracks (produced by the band and Tom Dalgety, whose credits include the hugely successful Royal Blood album) are very much music as ritual – raw, uncompromising and precisely-targeted lyrically. While other bands of a certain vintage may struggle to maintain their edge, Killing Joke are delivering the best and most relevant material of their career. Available on CD and 3LP green vinyl.

Transmeridian is the first album from Departure Lounge (ex-Bella Union) in 19 years. It features all four original members plus a guest appearance from legendary REM guitarist, Peter Buck, one of many long-standing admirers of a band that embodied a lost age of reflective, experimental pop music coming to the fore at the turn of the Millennium alongside The Beta Band, Tunng, Boards Of Canada and Gorky’s Zygotic Mynci.

The surprise new album, named after the defunct ‘golden age of aviation’ cargo airline for which singer/guitarist Tim Keegan’s dad was chief pilot, is released on Violette Records (formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett ) on digital and vinyl formats on Fri 26 March 2021.
Originally scooped up by Simon Raymonde’s Bella Union label (labelmates with John Grant’s Czars) following the self-funded release of their debut album Out Of Here (1999), Departure Lounge’s sophomore outing, Too Late To Die Young (2002) was equally acclaimed and was honoured as the first ever Album Of The Week on the emergent BBC 6 Music. The band toured extensively in the UK, Europe and the US, including outings with The Go-Betweens, Morcheeba, Paul Heaton and Robyn Hitchcock, peers whose stylistic contrasts reflect the eclectic nature of Departure Lounge themselves.

Calling a halt in late 2002, citing family and geographical reasons (drummer Lindsay lives in Nashville, where their second album Jetlag Dreams (2001) was recorded), the four members remained firm friends and occasional collaborators, before reuniting in late 2019 for shows at The Green Door Store, Brighton and The Lexington, London, ostensibly to support the digital reissues of their first three cult-classic albums. With no plans other than to make some new music, the next day they set off for Middle Farm Studios, Devon.
Tim Keegan (vocals/guitar), Chris Anderson (lead guitars/keyboards/bass), Lindsay Jamieson(drums/keyboards) and Jake Kyle (bass/guitar/drums) channelled their evident joy at being back together into a complete 13-track album, largely conceived and recorded in just one 24-hour session in the company of studio owner and co-producer, Peter Miles. Ranging from soulful Americana to piano and mellotron-fuelled melancholia via pastoral musings on the nature of post-youth and eerie Spaghetti Western-tinged instrumentals, the next leg on the Departure Lounge journey is a multi-mood expression of pure artistic freedom.
The ‘leak’ of instrumental track Al Aire Libre (remixed by Parisian groovemeister Kid Loco) in October 2020 gave little away as to what fans could expect from a new Departure Lounge record, the track going gracefully everywhere and nowhere on a whistled Latino breeze. First single proper, Mercury In Retrograde, covered in the twinkling lights of a music box Casio CZ101 melody, turned the clock back - this was an old live favourite that never got past the studio door. Unfinished business brought to a happy conclusion, the single returned Keegan’s honest and distinctive lyrical voice back to British music at just the time listeners needed it.
It was an emotional thread, rather than one musical style, which gave the first three Departure Lounge albums their coherence. The songs told the story of the band. Transmeridian has the same sense of deeply connected musical energy. The purring, campfire acoustica of Timber and So Long bear no obvious resemblance to the ethereal, end-of-the-evening, piano-led interlude Paging Marco Polo, whilst the quasi-glam stomp of Mr Friendly would normally have no business sharing space with the strange, spacey Gurnard Pines (named after an abandoned holiday camp on the Isle Of Wight). Yet the journey’s ebb and flow, accelerations and pauses make for compelling, grown-up listening. Australia, showcasing the chiming Rickenbacker 12-string of Athens, GA’s finest guitar slinger, leaves no doubt that Departure Lounge’s pop sensibilities also remain solidly intact.
These four friends from different musical backgrounds came together originally with the stated aim of ‘creating music to soothe the troubled soul’. Citing their love of (and placing on record their debt to) influences including Robert Wyatt, Nick Drake, Talk Talk, Lou Reed, Arvo Pärt and Cocteau Twins, the band’s diversity of taste is reflected in the music they create.
Transmeridian is only the second full-length LP released by Violette Records, formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett as a platform for Head’s work and developing into a respected independent label as well as multi-disciplinary event organiser, drawing in outsiders working in music, literature, art and design. The label continues to host live events whenever possible and recently initiated an ELP (halfway between and EP and an LP) vinyl series, putting out acclaimed releases by The Pistachio Kid and Studio Electrophonique.

Reissued for the first time.
Double vinyl that includes their critically acclaimed and highly sought after debut album ‘Glasshouse’ from 1985 and the 1986 follow up ‘Simplicity’. Presented in a gatefold sleeve adorned with the artwork from the Glasshouse EP, which features in the Prints & Drawings collection at the Victoria & Albert Museum.
With printed inner sleeves and a download code for all 31 tracks on the double CD. Including all tracks from the singles and EP’s plus unreleased recordings
Pressed on colour vinyl. Disc 1 is Purple. Disc 2 is Gold.

Formed in Barnsley in 1981. Party Day, with their bass led rhythms and sharp powerful drums gigged extensively and released their debut single ‘Row The Boat Ashore’ in 1983.
Their brand of Post-Punk Indie Rock with Gothic overtones soon got the attention of DJ John Peel and sold out almost immediately.
The follow up single ‘Spider’ from 1984 again received extensive airplay from John Peel and received rave reviews from the national music press. “Mouthy pellets of malevolence” NME “Excellent punk junk howl” Sounds.
Their self released debut album ‘Glasshouse’ was released in 1985 to glowing reviews and has gained popularity over the years. Now very collectable, it exchanges hands for big money on the second hand market.
The Glasshouse EP followed later in 85 heralding a more commercial approach and widening appeal.
Their second album ‘Simplicity’ was released in 1986
“Proving that they’ve grasped more than an inspirational nettle, the recurrent throb finds their trousers igniting during the quite punctilious rawk of the title track, the urgent prodding of ‘Career’, which reminded me uncomfortably of early Killing Joke and the attractive, though slightly over-wrought black sheep, ‘Glorious Days’, which could have brought a lump to Mario Lanza’s trousers.”
Party Day Split in 1987.

De Brassers were one of the most notorious bands in the Belgian new wave/punk history. With their no nonsense attitude they scared the shit out of the local catholic community of Hamont. De Brassers were a local mixture of the Sex Pistols (in the lowest gear) and Joy Division (they always performed a cover version of Joy Division’s Shadowplay), combining a criticism of bureaucracy and politics with experiences of psychological and existential tensions. The doomed sound they produced tells a lot about the dark atmosphere of the late seventies and early eighties: the fear of atomic bombs, cold war pessimism, police violence against squatters, the first cases of AIDS, and the grim years of Reagan & Thatcher.

This compilation takes you back to that time. All tracks from their first 7″ "En Toen Was Er Niets Meer” & their self-titled 12″, plus rare & unreleased tracks taken from various live performances & the cassette “Levend”. If you’re in for a raw slice of Belgian history let de Brassers immerse you in a cold wave of punk.

Re-mastering by: Kevin Gray



The best of pianist Horace Tapscott's recordings for the tiny Nimbus label is this 1981 LP which features him in a sextet with trumpeter Reggie Bullen, altoist Gary Bias, tenor saxophonist Sabir Matteen, bassist Roberto Miranda and drummer Everett Brown, Jr. The group stretches out on a couple of Tapscott's originals plus a 19½-minute version of Linda Hill's "Dem Folks." Although the music could be called avant-garde, its use of rhythms and repetition keep the results from being forbidding and the performances have a momentum of their own.

Scott Yanow/AMG

A great group recording from pianist Horace Tapscott – recorded in LA in the early 80s, but done with all the righteousness and spirituality of his earlier albums! Tracks are long and exploratory, but also relatively lyrical too – stretching out with a style that's never too "outside", and which has Horace and the group really soaring to the heavens on the best moments! The group here is a sextet – with the great Gary Bias on alto and soprano saxophone, plus Sabir Matteen on tenor, Reggie Bullen on trumpet, Roberto Miguel Miranda on bass, and Everett Brown on drums and percussion – all working with a cohesiveness that reminds us of some of Tapscott's larger group recordings, but with a cleaner, leaner kind of feel. Titles include "Lately's Solo", "Dial B For Barbara", and "Dem Folks".

RECORD STORE DAY 2021 TITLE!!!
Larry Coryell at the Village Gate is a live album by the “Godfather of Fusion”
This album was recorded on January 21st and 22nd, 1971 at the Village Gate in New York City. It includes
his famous track “Beyond These Chilling Winds”, plus a cover version of a song by Jack Bruce with whom
Coryell toured 3 years before
Double Blue Split Colour Vinyl
ONE TIME PRESSING COLLECTOR'S EDITION - STRICTLY LIMITED TO ONLY 2,500 COPIES
WORLWIDE!

Hailed as one of the most prodigious guitarists of his generation, Julian Lage has spent more than a decade searching through the myriad strains of American musical history via impeccable technique and a spirit of infinite possibility. After notable Blue Note appearances on The Nels Cline 4’s Currents, Constellations (2018) and Charles Lloyd’s 8: Kindred Spirits (2020), the acclaimed GRAMMY-nominated artist is poised to make his own Blue Note debut with the June 11 release of Squint. Produced by Margaret Glaspy and Armand Hirsch, the dynamic 11-song set ,featuring 9 originals, showcases both Lage’s remarkable songcraft and adventurous sense of improvisation which takes flight in the company of his trusted trio with bassist Jorge Roeder and drummer Dave King (The Bad Plus).

The second album from Brighton based Balearic duo Andres y Xavi. This time with a little help from Rolo McGinty of Peel faves and Balearic Beat legends The Woodentops. This is a love letter to the forgotten side of Ibiza: dusty lanes, olive groves and clearings with sea views that go on for miles.

10 original compositions plus a cover of Talk Talk’s Renee.

The self released and distributed first album found favour with Balearic DJs across the world. Lead track ‘My alibi’ was picked out by the likes of Kenneth Bager, Danny Psychmagik and ‘Never seen Ibiza’ was a firm favourite of Phat Phil Cooper and Balearic Ultras.

Rolo adds guitar and vocals and a Woodentops vibe to two tracks on the album ‘What do you see in me?’ and ‘Walking in the sun’, his personal tribute to Jose Padilla.

First album received support from Kenneth Bager (Music for Dreams), Phat Phil Cooper (NuNorthernSoul), Chris Coco, Mike Salta, Leo Mas, Balearic Ultras, David Pickering (OneMillionSunsets) and many more!

And was described by Dr Rob (Ban Ban Ton Ton) as "Smokey Muscle Shoals organ plays, strings swoon, and Kosmische synths blink like distant stars... an overall “vibe” somewhere between Mo`Wax and the Sunday Best of Bent and Dan Mass... adorned by cascading Indie “neo-acoustic” guitar jangle. Like The Stone Roses by way of Horsebeach."

Sir Rod Stewart was on his way to becoming one of the most successful recording artists in history in 1974 when he moved to America and signed with Warner Bros. Records (now Warner Records). Over his next 27 years with the label, Stewart released some of the most commercially successful and critically acclaimed records of his extraordinary career. This 5LP boxed set features Stewart's first four Warner albums on vinyl, plus a bonus LP of rare and unreleased studio outtakes from those albums: Atlantic Crossing (1975), A Night on the Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978).

After being out of print for decades, the studio albums look and sound better than ever as they return to vinyl, complete with replica sleeves and newly remastered sound. The albums and the bonus LP are all organised in an iridescent box with Stewart foil-stamped on the cover, his blonde shag haircut glistening in gold, and his leopard-print suit shimmering in silver.

After brilliant stints with the Jeff Beck Group and the Faces and several outstanding solo albums, Stewart moved to Los Angeles in 1974. ROD STEWART: 1975-1978 reflects the burst of creativity that followed, starting in 1975 with his label debut, Atlantic Crossing. The album was produced by the legendary Tom Dowd, who produced Stewart's next three albums. After Atlantic Crossing was certified gold, A Night On the Town went double-platinum, and Foot Loose & Fancy Free went triple-platinum, as did its follow-up Blondes Have More Fun, which became Stewart's first #1 album. That era introduced many of the singer's best-known tracks: "Sailing," "I Don't Want to Talk About It," "I Was Only Joking," "The First Cut Is the Deepest," "You're in My Heart (The Final Acclaim)," "Da Ya Think I'm Sexy?" and "Hot Legs."

The bonus LP, titled Encores 1975-1978, is a collection of 10 outtakes selected from the recording sessions for all four albums. The first side highlights five songs from the recent deluxe editions released for Atlantic Crossing and A Night on the Town. Songs include an alternate version of the B-side "Rosie" and a cover of the Bee Gees' "To Love Somebody" recorded with the influential Stax Records house band, Booker T. & The MG's. The flip side features five previously unreleased session outtakes from Foot Loose & Fancy Free and Blondes Have More Fun. Highlights include a cover of the Motown classic, "You Really Got A Hold On Me," and the unreleased tracks "Silver Tongue" and "Don't Hang Up".

Death Waltz Recording Co. is thrilled to bring you BenDavid Grabinski's directorial debut Happily on vinyl. Happily is a dark, twisted romantic comedy full of surprises (and one dead body). It's the kind of film you do not want to read reviews on as you should go in with no spoilers and fresh eyes.

Spot varnish gatefold sleeve with liner notes by writer/director BenDavid Grabinski & composer Joseph Trapanese and featuring a download of the entire score, plus nine bonus cuts not on the physical format.

BenDavid Grabinski (Are You Afraid Of The Dark?) pulled in a stellar cast, including Joel McHale, Natalie Morales, Kerry Bishe & Natalie Zea, who are having fun with his script full of intriguing turns and snappy dialogue.

Joseph Trapanese's score (Tron: Legacy, Straight Outta Compton) is a moody, mysterious piece of work, full of space, quiet, contemplative moments but with an unnerving sense of dread below the surface that gives just the right amount of unease whilst listening.

Composed by Joseph Trapenese
Artwork by We Buy Your Kids
Manufactured in the Czech Republic

The venerable composer and keyboardist Stale Storlokken follows up his previous Hubro release (and solo debut recording), The Haze of
Sleeplessness, with a second solo album performed entirely on pipe organ and recorded at Steinkjer Church by Stian Westerhus.
He describes the album as “a cavernous cathedral of sound”. While the Norwegian Grammy-nominated ‘The Haze of Sleeplessness’ used a whole keyboardmuseum’s worth of antique synths and contemporary digital software to create
its vast array of sounds, everything on ‘Ghost Caravan’ is the product of one organ’s pedals, pipes and sonic plumbing.
“There’s not so much of a relationship to ‘Haze’, says Stale Storlokken of the new album. “That album was more based on improvised ideas that were tweaked and arranged , while this one is all improvised with almost no editing at all. Everything you hear is from the church organ, with no additional instruments.
The basic concept of the record, and the arrangement of the titles and pieces, is done in such a way that they alternate between a fluent, “on the move”, abstract mood and a more recognisable, concrete and grounded mood. At the same time it should be so open that listeners will hopefully have their own unique experience. The organ at Steinkjer is not a big organ but it has some really nice sounds, with a number of quirks and mechanical eccentricities that suit my music.”
The organ is partly a reconstruction based on a Wagner organ in Nidarosdomen built originally in 1741, the organ is housed in the strikingly modernistic Steinkjer kirke, designed by Olav S. Platou in 1965, and featuring glass panels by the artist Annar Millidahl. What Ghost Caravan does share with its predecessor is a seemingly limitless acoustic space for the listener’s imagination to roam in, with Storlokken creating a cavernous cathedral of sound.
The audio dynamics span an enormous range, capable of stretching from the quietest breathy whisper to a basso profundo squawk or scream, sometimes within seconds of each other. Similarly, the incredible variety of sounds that Storlokken coaxes from the organ can defy rational analysis, with the resolutely analogue instrument appearing to echo the industrial, found-sounds of clanking machinery or buzzing electronics that one might expect to encounter through digital sampling or the tape-based experiments of musique concrete.
Over ten separate improvised pieces which connect into an informal suite through the repetition of key elements and sequential titles (with four ‘Spheres’ and four ‘Cloudlands’, plus ‘Ghost Caravan’ and ‘Drifting on Wasteland Ocean’), Storlokken has made a strikingly unified, self-referential aesthetic world that can stand as a true work of art.

One of the essential ‘global’ albums of 2019 gets its first pressing on ‘kimono blue’ vinyl.

Ahead of the release of their second album and their collaboration with cult Japanese kimono label Nakai Shoten, Minyo Crusaders come with a limited edition of their classic debut album.

Since their 2020 collaborative EP with Frente Cumbiero amassed almost 1m listens on Spotify plus over 1m views for the lead video on both Facebook and Twitter, the band’s popularity has soared.

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

Never underestimate the power of a woman with her back to the wall. In March 2020, as Covid blew across the planet, the shutters came down on live venues and recording studios, and the music scene fell suddenly silent, Ghalia Volt faced the same dilemma as every other artist.
What now? The answer was One Woman Band. Having joined with the cream of the US roots scene for two acclaimed albums, 2017’s Let The Demons Out and 2019’s Mississppi Blend, Volt’s rebirth as a solo performer wasn’t a decision made lightly. But if an apprenticeship busking in her native Brussels taught Volt anything, it’s that she already had everything she needed to make magic.
“In March, I started playing on a real drum set,” she recalls.
“Playing a kick, snare and hi-hat plus a tambourine with my two feet, while playing slide/guitar and singing at the same time.” After road-testing the new format at shows across Mississippi, Volt realised that one was the magic number.
In August, she committed to the project, embarking on a month-long Amtrak train trip that became an intensive writing session, the shifting landscapes beyond the window inspiring her pen to scratch as never before. Tracked live in November at Memphis’s legendary Royal Sound Studios, One
Woman Band is Volt’s most lyrically honest and groove-driven material to date.
You can feel the turn of those train wheels in the addictive stomp of songs like
Reap What You Sow, while the rattle-and-shiver slide guitar of Espiritu Papago
evokes the scream of a locomotive whistle.
“Imagine John Lee Hooker on mushrooms, lost in the desert of Arizona, on a hot
summer day,” says Volt. “That’s the vibe of that song.” The Covid-19 pandemic
is an unprecedented chapter of human history, with no clear end in sight.
But Ghalia Volt has given us the soundtrack to better times ahead, and the
songs we’ll still be singing when we meet on the other side. This might be a
One Woman Band - but you’re always welcome to ride shotgun.

Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well.

Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’. A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects.

Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers. Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’.

In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album. This Is Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible.

By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.”

After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes. Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs.

The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

Carney concurs, “The session was planned only days in advance and nothing was rehearsed. We recorded the entire album in about ten hours, over two afternoons, at the end of the “Let’s Rock” tour.”

Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard John Lee Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

Available on CD and DVD or LP and DVD.
Doris Wishman was one of the most prolific female filmmakers that most
people have never heard of.
The pint-size sleaze queen helmed a variety of oddball exploitation classics that
featured unique gimmicks and unusual, sometimes shocking subject matter.
The Best Of Doris Wishman features audio from theatrical trailers, original
theme songs, as well as some jazzy incidental library music from legendary
exploiteers in the Something Weird world that are cherished and adored for
the body of work they created, plus a booklet insert and a DVD filled with Doris’
outrageous oeuvre!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The imaginative talents of writer Neil Gaiman come to vinyl with this collection of three full-cast radio dramas based on his bestselling works. This highly collectible box set presents 5 x 140g gold
vinyl, in three individual sleeves (two gatefolds plus one single LP). Each one features an exclusive sleeve note by Neil Gaiman plus full cast, credits and broadcast details.
A frameable, full-colour print of Neil Gaiman, signed by the author himself, is also included. These are strictly limited to 750 copies.
Stardust, adapted by Dirk Maggs (Sandman, Good Omens) tells the story of Tristran who goes in search of a fallen star and enters the world of Faerie.
Norse Mythology is Gaiman’s retelling of myths populated by gods and monsters, all featuring tricks and trust, fiery endings and new beginnings. Chivalry tells the tale of Mrs Whitaker, who discovers the Holy Grail in a charity shop… The cast for these three productions features the crème de la crème of acting talent: Eleanor
Bron, Diana Rigg, Glenda Jackson, Matthew Beard, Sophie Rundle, Frances Barber, Maggie Steed, Derek Jacobi, Natalie Dormer, Colin Morgan, Nathaniel Martello-White, Kit Harington and many more, plus cameo appearances by Tori Amos and Neil Gaiman. A superb soundscape of music and effects accompanies each one.

On February 27, 2018, Chris Forsyth & The Solar Motel Band (comprised, in this iteration, of long-time SMB bassist Peter Kerlin and Kerlin’s Sunwatchers battery mate Jason Robira on drums) were close to wrapping up an 18-date tour of the EU and UK with a two-set, one hour and 45 minute show at Cafe OTO, London’s premier venue for adventurous music. Highlights of that show are included in this live release, RARE DREAMS: SOLAR LIVE 2.27.18, recorded before a packed house seated mere feet from the band’s amplifiers. These recordings reveal a band that is clearly in high spirits and high gear, operating with an expansive, improvisatory fleetness that allows them to stretch the material to almost ludicrous extremes and then let it to snap back to some semblance of form while somehow seemingly never wasting a note, a beat, a gesture. The four tracks included here comprise material culled from (at the time) the two most recent Solar Motel Band records DREAMING IN THE NON-DREAM (No Quarter, 2017) and THE RARITY OF EXPERIENCE (No Quarter, 2016) plus covers of two Neil Young songs - the autobiographical plaint “Don’t Be Denied,” lyrically relocated by Forsyth from Young's Canada and Hollywood to the more personally relevant geography of New Jersey and Philadelphia, and encore “Barstool Blues” (they’d run out of material to play, so another Neil Young tune it was). While the covers establish Forsyth’s basis, serving as an homage to Young and the quest for self-realization, the long tracks’ jams showcase the trance-inducing power of the Solar Motel Band as a performing entity. Kerlin’s gymnastically propulsive bass playing locks in with Robira’s relentless thud, each serving as counterpoint to some of the most blistering guitar work of Forsyth’s career. The telepathically dynamic interplay of the trio explodes with whiplash intensity across the 15-plus minute takes of “Dreaming In The Non-Dream” and “The First 10 Minutes of Cocksucker Blues,” each song’s structure serving as a framework for extended lava flows of energy. At one point late in the “Dreaming” jam, Forsyth unplugs the jack from his guitar, dragging it across the strings and lashing the body of his single-pickup “parts" Esquire, producing a desiccated barrage of percussive static. This is music beyond the notes; it is an expression of pure electric ecstasy, a simultaneous negation and celebration of rock music’s (indeed all musics’) essential energy. In contrast to the expansive but meticulously detailed guitar arrangements of his recordings, here Forsyth’s unhinged live guitar sound positively roars with a barely restrained vocal intensity, from liquid melodic lines to gnarled blasts of free jazz scree, to pulsating lead/rhythm vamping. I’ve had the pleasure of witnessing this band up close for a number of years now and I can authoritatively attest that while every show is different, when the SMB is running down a steep hill at full speed (as on these takes), they become a single leaderless vibrating sonic tornado, possibly beyond the control and logic of the players themselves, picking up listeners along the way and taking them along for the ride straight into a solar furnace of sound. - Jerome Onfront, Philadelphia

New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 1988. Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling At The Speed Of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)” coupled for the first time ever on vinyl. It also contains a 4 page booklet with interviews, rare photos and liner notes written by Angus Batey, the author of Rhyming and Stealing: A History Of The Beastie Boys and a writer for Hip Hop Connection and Mojo magazine.
This first pressing also comes with an exclusive photograph of Ultramagnetic Mc’s on thick cardboard. The timeless classic Critical Beatdown is available as a limited edition of 2000 individually numbered copies on yellow vinyl.

Alan Vega’s name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That

process naturally led to a wealth of material that didn’t see the light of day immediately when it was recorded, which came to be known as the Vega Vault. Mutator is the first in a series of archival releases from the Vault that will come out on Sacred Bones Records.

Mutator was recorded alongside Vega’s longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. He had 11 full-length solo albums come out during the ’80s, ’90s and ’00s - plus numerous collaborations, and Suicide records A Way of Life and Why Be Blue. Mutator wasn’t shelved intentionally, but Vega’s back-to-thegrindstone M.O. meant that he had moved on to making his next record before this one was finished. Lamere and Vega’s friend and confidante Jared Artaud (The Vacant Lots) rediscovered the raw, unmixed recordings from the Mutator sessions in the Vault in 2019. Soon after, they mixed and produced them into the visionary album that was lurking within those tapes.

“Our primary purpose for going into the studio was to experiment with sound, not to ‘make records,’” Lamere recalls. “I was playing the machines with Alan manipulating sounds. I played riffs while Alan morphed the sounds being channeled through the machines.”

At the time of the Mutator sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions. That sensibility, paired with Vega’s unmistakable voice and force of personality, is what made it the great album it is now. The final piece was the production job, completed by Lamere and Artaud 25 years after the songs were first captured.

Alan Vega’s name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That

process naturally led to a wealth of material that didn’t see the light of day immediately when it was recorded, which came to be known as the Vega Vault. Mutator is the first in a series of archival releases from the Vault that will come out on Sacred Bones Records.

Mutator was recorded alongside Vega’s longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. He had 11 full-length solo albums come out during the ’80s, ’90s and ’00s - plus numerous collaborations, and Suicide records A Way of Life and Why Be Blue. Mutator wasn’t shelved intentionally, but Vega’s back-to-thegrindstone M.O. meant that he had moved on to making his next record before this one was finished. Lamere and Vega’s friend and confidante Jared Artaud (The Vacant Lots) rediscovered the raw, unmixed recordings from the Mutator sessions in the Vault in 2019. Soon after, they mixed and produced them into the visionary album that was lurking within those tapes.

“Our primary purpose for going into the studio was to experiment with sound, not to ‘make records,’” Lamere recalls. “I was playing the machines with Alan manipulating sounds. I played riffs while Alan morphed the sounds being channeled through the machines.”

At the time of the Mutator sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions. That sensibility, paired with Vega’s unmistakable voice and force of personality, is what made it the great album it is now. The final piece was the production job, completed by Lamere and Artaud 25 years after the songs were first captured.

don Grammar’s success and longevity as a band has traced the British pop graph for over a decade now. The new album embodies a new clarity of purpose centred around frontwoman Hannah Reid, who crafts a message of femininity and power on the new material. Their debut double platinum selling record 'If You Wait' garnered huge success on its release in 2013, which was followed up by their #1 record 'Truth Is A Beautiful Thing' in 2017. To date the band have sold over 3 million records and 1 million tickets globally, whilst their music has been streamed 1 billion times. Having garnered numerous BRIT nominations and awarded a prestigious Ivor Novello, London Grammar remain rooted as one of the most exceptional and successful artists of a generation.

super deluxe box set/20 page hardback book featuring artwork, unseen photos and an exclusive lithograph art print on 300 GSM card. Inside you’ll find the album on CD, 12” 180g transparent white vinyl plus a special blue 10”.

Half & Half Colour Vinyl Disc 1: Yellow/Magenta Disc 2: Turquoise/ Magenta


Double album that includes;
45rpm bonus disc with the singles and B sides
Gloss laminated gatefold sleeve
printed inner sleeves, containing lyrics, photos and interview by The Mouth Magazine
“Pleasure Bag” containing 4 postcards, 2 stickers, A stencil, Repro Tour Poster, Repro promo posters for “Go For Gold” and “Politics/ Its Fashion” singles. Press photo and Press Flyer

In 1980 post punk pop indie band GIRLS AT OUR BEST came out of nowhere (Well, Leeds actually) with GETTING NOWHERE FAST and was the NME’s Single Of The Week reaching the Top 10 of the indie chart. The band, fronted by Judy Evans, released four further singles plus the album PLEASURE which reached the UK album charts in 1981, before splitting up two years after that first record.

Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands who cropped up at the turn of the 80s – long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude ‘Jo’ Evans, forming a songwriting team with guitarist James Alan and bass player Gerard Swift after they met at art college. All four of their singles for their own Record Records, Rough Trade and Happy Birthday Records are included here as bonus tracks on a 45rpm 12”– including the wonderful ‘Getting Nowhere Fast’ (later covered by The Wedding Present), its coruscating b-side ‘Warm Girls’, ‘Politics!’, ‘Go For Gold’ and ‘Fast Boyfriends’

Their influence can be seen on innumerable C86/indie bands who came afterwards

When Fleetwood Mac released their first live album in December 1980, it captured the legendary band’s most iconic lineup on stage demonstrating the full scope of their collective, creative powers. Recorded mostly during the world tour for Tusk, Fleetwood Mac Live delivered a double-album’s worth of exhilarating performances that included massive hits like “Dreams” and “Go Your Own Way,” “Rhiannon,” and “Don’t Stop.”

Rhino gives the band’s live debut a much-deserved encore with a new 3-CD/2-LP collection that features a remastered version of the original release on both 180-gram vinyl and CD, plus more than an hour of unreleased live music recorded between 1977 and 1982 on the third CD. The set also includes a bonus 7-inch single featuring previously unreleased demos for “Fireflies” and “One More Night.”

This Super Deluxe Edition is presented in a 12 x 12 rigid slipcase and comes with a booklet filled with rare photos, a full itinerary for the Tusk Tour, plus a history of the live album by writer David Wild.

FLEETWOOD MAC LIVE: SUPER DELUXE EDITION will be available from 9th April 2021.

“This is the time. And this is the record of the time.”

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25thanniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I travelled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I wasfascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization,shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei
Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, itcomes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.
Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequentLPs, Wallflower and Origin, came out on Ninja Tune, the former#2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:
As Jordan says,there’s so much more to the song selection on Late Night Tales’latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.
Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in mycareer,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.
Snowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive,original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a familyaffair. Not theblood is thicker than water kind, but certainly musical kindred spirits.

Compilation of all the recordings by this legendary punk band prior to their LPs: the sessions for their single 'Mucha Policía', taken for the first time in 27 years from the original tapes, which has unearthed two studio recordings unissued until now; plus rehearsals, demos and live recordings. Completely remastered. A furious, noholds-barred sonic account of a period of immense changes for Spain and the Basque Country. The origins of the most important Spanish punk group, regarded as one of the essential bands of the genre all over the Spanish speaking world.It was a time when the walls were teeming with socio-political proclamations, where the hammer and sickle - alongside the illegal Ikurriña (the flag of the Basque Country) - were the most widely used symbols. A time of general strikes and protests on the streets that often ended in an ugly manner. A time also of smoky joints, where huge speakers played loud rock and there were dreams of strawberry fields. In Santurtzi, on the left bank of the Nervión estuary, a unique band was born: ESKORBUTO. Iosu Expósito and Jualma Suarez lived in working class neighbourhoods that had grown fast. Both Kabiezes and Mamariga were, in the 50s, mainly rural areas of Santurtzi. In the 60s, industrialization and rampant development transformed them into urban areas without any investment in urbanism. Some elements for the alchemy led to the explosion: intelligent young guys who were nevertheless incapable of adhering to school discipline, a country in full swing towards freedom after 40 years of dictatorship. It was a context very familiar with the turbulence of the "Basque conflict", with neighbours seduced by the "armed fight" and the "liberation of Euskal Herria", with the question of "identity" constantly present, traumatic episodes of killings, tortures and imprisonments .One day at the end of the 70s they decided to start a band. The first period of Eskorbuto's life, before the damage done by the needle became noticeable, was incredibly fruitful. They soon found a rehearsal space, thanks to their first drummer ("Gu"), and there the first songs were born: 'Enterrado vivo', 'Busco en la basura', 'Éste es el porvenir', 'Mucha policía, poca diversión'. It was a period of line-up changes. Iñaki Laiseka played bass for them, and that role was also taken by "Seni" and "Garlopa", two precursors of "left bank" punk. Later on they found Paco Galán, who also came from a similar neighbourhood to theirs (Repélega, in Portugalete). Paco always was the necessary engine, the piece around which the rest revolved, which guaranteed continuity. His drumming also added an apparently chaotic element to the already unbridled guitar melodies and visionary texts, halfway between dirty realism and Edgar Allan Poe's nightmares. These recordings are taken from those early times of excitement and vertigo, of journeys to Madrid under a train's seat and endless trips up and down the left bank looking for "someone that I've heard is selling an amp". Now the Reina Sofía Museum exhibits their "Impuesto Revolucionario" LP and there's no Spanish speaking country without legions of fans.

An array of lauded artists has collaborated across Coin Banks new Outside Looking In EP, from the WAAPA Gospel Choir on ‘Forgive Us’ and Brisbane based Ezra James providing vocals for ‘Pull Up’ and ‘Problems’ rounding out the songs with a smooth, R&B sound, to three-time World DMC Champion 20Syl who produced the latter. Atom lends his touch to ‘BreakBanks’, throwing it back to the late 80’s/early 90’s break-dance and Hip Hop scene, while James Chatburn’s silky, soulful chorus amplifies the tenderness on ‘Stay In Bed’, which along with the ‘Handlebars’ was produced by Cam O’bi who has collaborated with Chance The Rapper and Kendrick Lamar.
The vinyl version of the EP includes 2 bonus tracks ‘Be Real’ and ‘H.E.R.’ both featuring Atom and Danny Martin which were produced by Nottz and 20Syl respectively.
COIN BANKS
Perth rapper Coin Banks has quickly established his position as one of Australia’s most exciting voices in Hip Hop, since the release of his singles ‘Think of You’ and ‘Hatches’ in 2014, fusing classic and contemporary styling in his inventive storytelling.

His unparalleled run has charted local and international tours including supporting the likes of Cypress Hill, Macklemore & Ryan Lewis, Action Bronson and Illy, saw him round out 2015 as the Most Played Artist on triple j Unearthed and nominated as their Artist of the Year, plus a string of accolades including WAM Urban Artist of the Year in 2015 and WAM Song of the Year in 2015 and 2016.

The Peacers are back with their third album. The time has
been kind. Three years since they went about their
sophomore release, ‘Introducing the Crimsmen’. That
second Peacers record was made by the second Peacers
line up, after two thirds of the first gang made for the door
after the first album. In came Bo Moore, Shayde Sartin
and Mike Shoun but, after they’d finished making
‘Introducing the Crimsmen’, singer Mike Donovan moved
out of his old San Francisco digs to the east coast and
made two solo albums.
The Peacers were consistently great no matter who they
were, delivering Mike D’s irrepressible subterranean pop in
a full colour spectrum of moods from purple to blue-black
to sometimes white. ‘Blexxed Rec’ is a different time in the
band’s life - a second album from the same line up, plus
with a country in between them. Also Bo, who had one
song on the last one, brought three in for this one and
Shayde’s got the closing number. Suddenly, three singersongwriters under The Peacers’ flag.
The Peacers send out a mad variety of the thrills and chills
of modern rock, whether glam-tinged (‘The Thunder Is an
Electrical Love God’), psyched-out (‘Colors for You’,
‘Dandelion’), folky (‘Irish Suit’), riding the knife blade of
post-garage fusion (‘Blackberry Est’, ‘Ms. Ela Stanyon’s
School of Acting’) or pumping the winning strains of their
own pure pop sound (‘Ghost of a Motherfucker,’ ‘Bic Sitar,’
‘Make It Right’) and melting it all together.
Recorded in SF and Hudson NY with The Peacers’
production ear for small and curious detail in full spectrum,
‘Blexxed Rec’ is a blessed event for all you rock and roll
people.

random color vinyl

Miles was right, Embryo was more than a unique experience. While talking with Charlie Mariano (the saxophone player was one of the most impressive collaborator of the german band) one day he stated: ‘Embryo - they are these crazy creative musicians playing really weird stuff.’ When you get the blessing from the prince of darkness itself, nothing can go wrong, so here’s the story. Opal was the beginning of all things to come, the record was released in 1970 and licensed by pioneering early Berlin rock/jazz/experimental music label Ohr. It was quite a shock! Forget about your kosmische debris and sought after kraut rock genetics, this was pure and mind bending (heavy) psychedelia, the kind mr. Julian Cope would have killed for. The long stretching People From Out The Space – seven minutes plus of outstanding jam – was sitting at the end of the album, right after a series of heavy hitting jazz rock numbers. This was the foundation of a whole myth. A cornerstone in European experimental and popular modern composition. (Released by LONEOS in cooperation with MATERIALI SONORI.)

Richard Youngs' e work can traverse everywhere from avant-folk or otherworldly pop to minimalist electronics or some of the most fervent 'outer sounds' one can dredge from the deepest crevices of their doubtlessly life battle-scarred imagination. On Metal River, Youngs offers four songs of deep space beamed curdled electronics not far removed from being akin to the contorted death caterwauls of a cyborg species reaching out in uttermost anguish. It's like prime Edgar Froese getting snagged on Incapacitants before tumbling headlong into a dingy cellar that then has its door slammed shut and locked before one notices the only company is accorded by body parts in dusty and mouldy demijohns. Features three songs on the first side, 'Days of Gravity Indoors', 'Metal River' and 'Rainy Days Static Caravan', plus the side long 'Dual Monody of Accumulated Detritus'. The perfect follow up to the 2dicks 7" lathe-cut also featuring Richard Youngs and released by FD in June. White vinyl, too. What more could you possibly ask for? "

Life and Times is part of a series of 1972 – 1974 Catalogue Reissues of the Legendary Jim Croce, which are now back in print on CD & 180g Black Vinyl.
The set of reissues includes 3 Top 10 Gold Certified Studio Albums & Top 5 Platinum Certified Greatest Hits Release, featuring 10 Billboard Hot 100 singles, including 8 Top 40, 5 Top 10, and 2 Number 1 Classics.
Life and Times was Croce’s 4th Studio album, released in 1973, and is certified GOLD.
It Features the GOLD #1 single “Bad, Bad Leroy Brown”, plus the hit “One Less Set Of Footsteps” (#37).

This year marks the tenth anniversary of the theatrical release of Universal Pictures’ Scott Pilgrim vs. the World. The film adaptation by director Edgar Wright (Hot Fuzz, Baby Driver) of Bryan Lee O’Malley’s graphic novel series stars Michael Cera, Mary Elizabeth Winstead and Kieran Culkin and has since become a cult classic due in no small part to the use of music in its storytelling. The soundtrack album and score were originally released in 2010 by ABKCO Records.

Each side of each LP is graced with an image of one of the “Seven Evil Exes” characters from the film, with an image of Scott Pilgrim with Ramona Flowers on the eighth side. This marks the first time ever that Godrich’s score will get a vinyl release, which will also be available separately on a blue vinyl 2-LP set, also on March 26. On the same day, the original single LP version of the soundtrack will be reissued as the Ramona Flowers Edition on blue, green and magenta vinyl, representing the colors of the character’s hair throughout the film.

Now ABKCO, with Edgar Wright and Nigel Godrich’s oversight, has curated an expanded, four LP picture disc Seven Evil Exes Edition offering of the soundtrack/score, including more performances by Sex Bob-Omb and demos from Beck, as well as fan favourite “Black Sheep” by Metric and sung by actress Brie Larson.

Since its release, Scott Pilgrim vs. the World (Original Motion Picture Soundtrack) has received many accolades. UK’s The Independent ranked it at number 4 out of “the 40 greatest film soundtracks of all time,” declaring that Wright “found a way to seamlessly integrate his soundtrack into Scott Pilgrim vs. the World’s narrative.” It was also included on Alternative Press’ list of “16 Fantastic Movie Soundtracks You Need To Hear.” “We Are Sex Bob-Omb” won the 2010 Houston Film Critics Society Award for Best Original Song.

Scott Pilgrim Vs. The World (Seven Evil Exes Limited Edition)
• 4x LP picture discs
• Limited Edition Set
• Exclusive bonus tracks not included on original soundtrack by Sex Bob-omb, Beck, plus highly sought- after Brie Larson w/ Metric
• Social support from Edgar Wright + Beck
Bonus ephemera: 
 • Full colour film poster
 • Exclusive Colouring Page by Bryan O’Malley
• Printed note from Edgar Wright, Director

Photographs & Memories is part of a series of 1972 – 1974 Catalogue Reissues of the Legendary Jim Croce, which are now back in print on CD & 180g Black Vinyl. The set of reissues includes 3 Top 10 Gold Certified Studio Albums & Top 5 Platinum Certified Greatest Hits Release, featuring 10 Billboard Hot 100 singles, including 8 Top 40, 5 Top 10, and 2 Number 1 Classics. Released in 1974, just 1 year after his untimely death, Photographs & Memories: His Greatest Hits, reached #2 in the charts and is certified PLATINUM. It features the #1 Hits “Bad, Bad Leroy Brown” and “Time In A Bottle” plus Top 10 Hits “I’ll Have To Say I Love You In A Song” and “You Don’t Mess Around With Jim” and more.

Clear vinyl LP (VIRUS500LPX) is for Indies only and is very limited.

Political punk rock legend returns with a much needed current situation skewering. First release in six years! Features supergroup of members of UK Subs, The Mob, Victims Family, Triclops and more!

Hot on the heels of five viral video singles, Tea Party Revenge Porn, the first full album since 2014 by Jello Biafra And The Guantanamo School Of Medicine, is finally here! This is very strong stuff. Hear the inimitable Mr. B skewer the place the country has put itself in like no one else would or could as he and The Guantanamo School Of Medicine capture the full power of their live shows on disc as never
before.

Only so many artists have a track record of lyrics this good, and back it up with music as good or better. It’s usually one of the other, but rarely this fierce, thanks to the wall of sound production of the mysterious Marshall Lawless, with Kurt Schlegel at the board this time. Co-conspirators now feature both string-titans of longtime AT mainstay Victims Family: guitarist Ralph Spight (also Freak Accident) and wonder bassist Larry Boothroyd (also Triclops, Brubaker); plus drummer / metal percussionist Jason Willer (UK Subs, Nik Turner, Charger, The Mob).

So as germs and police riots rage, there’s no better primal scream therapy than a long-awaited new Jello Biafra album. From Dead Kennedys to Lard to the now-classic albums with the Melvins, DOA, NoMeansNo, Mojo Nixon; and of course, The Guantanamo School Of Medicine, Tea Party Revenge Porn is right up there with all of it.

Label Boss Okain is back with three orginal tracks plus one superb remix from Leo Pol. Don't sleep

La Musica is a dreamy track for the perfect Balearic experience. Written by the "Balearicos" it comes with 2 great remixes, one from the chillout legend Cris Coco and another one from Rudy's Midnight Machine .

The original version comes with a long and chill intro of over 2 minutes where echoes and synthetic pads build up the atmosphere to a heavenly happy place until the beloved classic combo of tr 909 and Korg M1 Pianos send all us back to 90s open air dance floor in Ibiza.

There is where the journey starts, accompanied by the piano chords and Brazilian sounding voices, saying: "La Musica".

After the Hype we go back to a chill place, and a soft ending of the track.
Perfect for a set on the beach or as a warm up record, will fit perfectly in your Balearic session.

Rudy's Midnight Machine takes the elements written by R.B. and shakes everything into a Disco dimension.

All the elements for the perfect track are in place: Funky Bassline, Open Hi Hats and muted guitar plus an exploding chorus with a great melodic hook.
You can't miss this tune if you are into Disco with a classy and modern feeling.

Chris Coco's remix is a classic take made with great taste.
He keeps the harmonic elements as well as the bass line almost intact, plays around with the vocals and adds melodic bits that almost give a tropical feeling.

Don't be fooled by a soft intro because the rhythm is soon coming in and taking the listener to the dancing zone. It may generate good moods and generally happiness.

Cologne’s Feines Tier is delivering the second label compilation Zoo Vol.2. Providing the finest vibes from slow chuggers, Disco and Indie Dance to house and techno on one black and one white vinyl. Only 300 limited pieces available with silk printed and numbered vinyl covers. Don’t miss the quadrophant prints. Plus: Sticker inside!

Originally released in 1970 and still seen as one of Neil Young’s greatest albums, After The Gold Rush celebrates 50 years since its release with this special edition.
Featuring timeless classic Neil Young songs such as Southern Man and Only Love Can Break Your Heart, this new edition also includes a version of the track Wonderin’, originally written around the time of After The Gold Rush, which only previously appears on the Archives boxset plus a previously unreleased outtake from the recording sessions for that track.

I’ve known Alex Bleeker my entire life. Well, okay, maybe not since I was born, but there’s no doubt that I’ve shared a fair bit of memories with him over the years. We’ve acted in high school productions of Shakespeare together, gone on late-night diner runs, argued about which Weezer album is the band’s best, and swapped mutual appreciation for the music of Yo La Tengo on car rides careening around the snaky suburbia of our hometown. Just like his Real Estate bandmates Martin Courtney and Julian Lynch, we attended high school in the New Jersey enclave of Ridgewood, a place where sticky summer days yielded cool nights with a glow so nocturnal that you can practically hear the fireflies buzzing off of this sentence alone.

Indie rock—a type of music that can easily be made or listened to in someone’s garage—often dominates teenage suburban preoccupations, and both Alex and I were no exception. You can hear this legacy of listening on his new album Heaven on the Faultline, which departs from his last full-band outing as Alex Bleeker and the Freaks, 2015’s Country Agenda. Whereas that album had a more full-bodied explicitly folk-y feel, Heaven on the Faultline finds Bleeker getting back to his homespun roots over the course of its 13 songs, from the jangly guitar pop of New Jersey heroes the Feelies and YLT’s hushed, acoustic reveries to the open-hearted folk rock that marks so much of the Grateful Dead’s early catalog.

Written and recorded over the last several years, Heaven on the Faultline’s songs were initially recorded straight to GarageBand in Bleeker’s bedroom before receiving further studio refinement in co-producer Phil Hartunian’s Tropico Beauty space in Los Angeles. With contributions from Confusing Mix of Nations’ Josh Da Costa, Cameron Stallones of Sun Araw, singer-songwriter Kacey Johansing, and Parting Lines’ Tim Ramsey, Heaven on the Faultline achieves a warm and intimate feel that defines Bleeker’s mission for the album: “I wanted to capture the moment in which I fell in love with making music to begin with. This is music for myself—me getting back to music for music’s sake.”

The unsteady times we live in certainly creep into view on Heaven on the Faultline. The deceptively easygoing “D Plus” was written on the day of President Donald Trump’s inauguration with the cursed event in mind, while the anxiety of climate change hovers just above the lovely guitar loops of “Felty Feel.” “The album is very much about dealing with the anxiety of a sense of impending doom,” Bleeker states while discussing the album’s portentous vibes. “When is the hammer going to fall? How do we go forward in the face of such anxiety and experience the complexity of life?”

Tough questions with few answers, but try not to stress too much. It’s possible to experience such existential doubt while also enjoying the simple pleasures that life has to offer, and that ethos is square at the heart of Heaven on the Faultline. It defines who Alex Bleeker is, too, and is one of many reasons why I’m proud to have known this special person and artist for so long.

Larry Fitzmaurice

Lost Horizons release their new album ‘In Quiet Moments’ via Bella Union. The album features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Porridge Radio, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (Midlake), Ren Harvieu and many more.
In 2017, Simon Raymonde and Richie Thomas had both abstained from making music for 20 years until they united as Lost Horizons and released a stunning debut album, ‘Ojalá’ - the Spanish word for ‘hopefully’ or ‘God willing.’
“These days, we need hope more than ever, for a better world.” Thomas said at the time. “And this album has given me a lot of hope. To reconnect with music.... And the hope for another Lost Horizons record!” Thomas’ hopes had a mixed response.
On the plus side, the new Lost Horizons album ‘In Quiet Moments’ is an even stronger successor to ‘Ojalá’ with another distinguished cast of guest singers and a handful of supporting instrumentalists embellishing the core duo’s gorgeously freeflowing and loose-limbed blueprint that one writer astutely labelled, “melancholydelia.”
On the minus side, any hope for a better world, as Earth continues to freefall toward political and social meltdown. Then, to make matters worse, as Raymonde and Thomas buckled down to create the improvised bedrock that Lost Horizons is built on, the former’s mother died. At least Raymonde had a way to channel his grief.
“The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.”
Raymonde (bass, guitar, keyboards, production) and Thomas (drums, occasional keys and guitar) forged ahead, creating 16 instrumental tracks to send to prospective guests. When he did, Raymonde suggested a guiding theme for their lyrics: “death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.’”
Lost Horizons’ melancholy-delia also feels buoyed aloft by airy currents, informed in part by Raymonde and Thomas’ former respective bands: the legendary Cocteau Twins and Dif Juz. Their former bands were labelmates on 4AD in the mid-80s, which is how they first met.
“I think ‘In Quiet Moments’ is more in the direction of where we’re going,” Thomas concludes. “People have retreated into their lives and, in those quiet moments, reflected on the world, how we fit in and who we and trust. Maybe the next album will be about rebellion! But the road is long and winding. We just need to express ourselves in how we feel at the time.”
Coloured vinyl 2LP (disc one green, disc two blue) in PVC outer sleeve with printed text, 350gsm wide spined sleeve on uncoated/reverse board, 16pg booklet on standard paper with contributions from all featured artists and digital download code.

It has been twelve months since singer-songwriter Lucy Spraggan chose to go sober, and life has changed a lot. In fact, the present day Lucy Spraggan is, in a multitude of ways, unrecognisable from the person of yesteryear. Control - both relinquishing it and taking it back - plus rediscovering oneself, is a recurring theme of the past year and Spraggan’s forthcoming album Choices. Aptly named, the songs that comprise the collection offer insight and introspection that saw her let go of alcohol, embrace exercise and a healthier lifestyle, move onwards through a divorce and find solace in its wake. Needless to say, it may have been necessary, but it was by no means easy. In conclusion, “it’s really just been an enlightening thing.”

"On March 2, 1991 Serge Gainsbourg bowed out and left France orphaned by one of the most important singer-songwriters of French song. Thirty years later, his songs are still with us, proof of their quality. Indeed, beyond the many successes that have marked a career spanning more than thirty years, Gainsbourg's repertoire is abundantly rich. Always at the forefront of innovation, he has been able to adapt his delicate and classical writing with the most modern musical styles: jazz, reggae, funk ... without ever losing his eloquence or his soul. This 2LP Set sends us back and shows how Serge Gainsbourg was an emblematic and major figure.Reviews L’Echo, London Macadam,
ADS - L’Echo, London Macadam"

Trumpeter Bill Hardman (1933-1990) was a long-time front-line Jazz Messenger.
This New York session from the summer of 1989 became Hardman’s last recording and saw him joined by tenor saxophonist Junior Cook and trombonist Robin Eubanks.
Plus the rhythm section of Mickey Tucker (piano), Paul Brown (bass) and Leroy Williams (drums). Bill Hardman was one of the leading trumpeters in the hard bop era of 50s playing with Art Blakey, Horace Silver, Charles Mingus among others. Hardman lived in Paris in the last years of his life. “(Hardman) has cultivated a strikingly personal style, which emerges on this album.”
(Birger J rgensen - Arhus Stiftstidende on What’s Up)
“In 1989 he made an excellent sextet album, What’s Up (SteepleChase), reuniting with Cook and adding Robin Eubanks’ trombone. At about the same time he moved to Paris, where he died Dec. 5th, 1990 of a cerebral stroke at 57.” (from the article Lest We Forget by George Kanzler - New York City Jazz Record, Dec. 2020)

This is the latest album by UK hip hop artist, Uncle Mic Nitro. Following releases as a member of Dark Craftsmen, Ill Psychosis, The Bomb Factory & The Pick Pockets, he released his first solo album, Mind State Krakatoa, for B-Line Recordings in 2016.

B-Line are a highly respectable UK hip hop label run by DJ Specifik and have released a number of 7” singles, 12” singles, EP’s and albums from the likes of Whirlwind D, Sir Beans OBR, Chrome & Illinspired, Def Defiance, Heavy Links, Carpetface, etc.

Hip Hop Be Bop Records started with a release by US hip hop veteran and member of Fantasy 3, Silver Fox. This was followed with singles by Sugar Bear, best known for his 89 hit “Don’t Scandalize Mine”, Unique (“Axe Maniac”), newcomers 05:21 and Bla.Ze plus a previously unreleased album by UK hip hop veterans, Outlaw Posse (“My Afro’s On Fire Vol. 2”).

B-Line and Hip Hop Be Bop have now teamed up to release “Vincent On Horseback” by Uncle Mic Nitro. The album is pressed on neon yellow vinyl and comes with a cut-out face mask. Production is by Ollie Knight, Ryan Mac, Featurecast, Djar One, Speaks, Djar One, etc and featured artists include DJ Krash Slaughta, DJ Jabbathakut, DJ Tones, Micall Parknsun, Joe Burn, Specifik, Juga-naut, Klashnekoff, Greg Blackman and Ced Gee from Ultramagnetic MC’s.

Highlights include ‘Lemonade’ (Video link below), ‘Where The Monster Is’ and ‘Write’ which samples Stevie Wonder’s ‘Do I Do’ (Shhhh!) and features the vocal talents of Greg Blackman. This is definitely one for the summer.

Black vinyl pressing of the now sold out RSD 2020 reissue.

The Amorphous Androgynous unite their award winning psychedelic compilation series ‘ A MONSTROUS PSYCHEDELIC BUBBLE ( Exploding In Your Mind ) ‘ with their symphonic new single ‘ We Persuade Ourselves We Are Immortal’ ( taken from the forthcoming album ‘ LISTENING BEYOND THE HEAD CHAKRA ‘ ) to create this latest installment of the Monstrous Psychedelic Bubble series . Featuring a host of luminaries such as Peter Hammill -vocals ( Van Der Graaf Generator ) Paul Weller -piano and guitar and erstwhile members of the SPENCER DAVIS GROUP/ Ian Gillan Band AND SOFT MACHINE on lead guitar and sax among a plethora of other musicians ( including the Chesterfield Philharmonic choir and a full string section ! ) alongside collaboration & remixes with a host of bands ( ATOMIC SIMAO / HIGHER PEAKS / REGAL WORM / COBALT CHAPEL plus others ) to create one helluva progtronic psychedelic trip through the Amorphous Androgynous samplerdelic multiverse.

DIO – HOLY DIVER: LIVE
Limited Edition Lenticular 3LP / Standard 3LP / 2CD Deluxe Mediabook
• Deluxe Reissue of DIO’s long out of print 2008 live release. First time in vinyl!
• Newly remastered & newly created cover art
• LIMITED EDTION VINYL VERSION INCLUDES LENTICULAR 3D ALBUM SIZED ART PIECE ALONG WITH 3LP 180g BLACK VINYL / TRIPLE GATEFOLD
• Also Available in 2CD Deluxe Mediabook and 3LP 180g Black Vinyl / Triple Gatefold Standard Edition
• Features the legendary DIO album HOLY DIVER performed live in its entirety plus DIO classics from across his career including Black Sabbath and Rainbow!
• Recorded Live at the London Astoria

First drop of 2021 from AE Productions is from New York legend Emskee. From solo releases to group projects with The Good People alongside Saint, plus a slew of guest features far and wide his catalogue is staggering! Emskee previously appeared on guest spots with AE Productions for the Cut Beetlez ‘What Beetlez?’ album in 2020 and Oxygen’s ‘Age Appropriate’ album from 2019 but AE and Emskee go way back to 2012 thanks to an introduction via mutual friends Diggers With Gratitude at their Marisco event.

Both tracks here are produced by AE boss Mr Fantastic but for this one turntable duties were shared between Emskee who is one of those rare creatures – a highly skilled MC and DJ, and supplied the timeless scratched in vocal chorus feel from a legendary old school gem for 'Wall To Wall', and Mr Fantastic who supplies the question and answer style cuts for ‘Supernatural Force’ utilizing a couple of Emskee's prior releases as the source.

This is a heavyweight release - 12" black vinyl complete with Main Version, Instrumental and Radio Edit of both tracks - just how Hip Hop singles should be. We all love 45's but a big 12" with space for longer tracks and extra versions is historically where it's at for DJ's and with precious few released now it is a shame so we aim to remedy that here with at least one more new 12” release.

The full sleeve artwork adds to the class of this release with a huge nod back to the style of Blue Note Records’ heyday of the 50’s and 60’s thanks to Nick at Fine Print who has perfectly recreated the feel of those classic sleeve designs.

Demon Records presents the first part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of Northern Lights, 11-year-old Lyra discovers dark forces at work involving kidnapped children and a mysterious substance called ‘Dust’. This thrilling adaptation stars Lulu Popplewell as Lyra, Terence Stamp as Lord Asriel, Emma Fielding as Mrs Coulter, Bill Paterson as the Master, and Kenneth Cranham as Farder Coram, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Demon Records presents the second part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of The Subtle Knife Will finds an opening into the haunted world of Cittàgazze - where daemon-destroying Spectres roam – and meets Lyra for the first time. This thrilling adaptation stars Daniel Anthony as Will, Lulu Popplewell as Lyra, Emma Fielding as Mrs Coulter, Tracy-Ann Oberman as Serafina Pekkala, and Peter Marinker as Lee Scorseby, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Demon Records presents the third and final part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of The Amber Spyglass the young adventurers Lyra and Will must find each other and journey into the World of the Dead. This thrilling adaptation stars Lulu Popplewell as Lyra, Daniel Anthony as Will, Emma Fielding as Mrs Coulter, Tracy-Ann Oberman as Serafina Pekkala, and Terence Stamp as Lord Asriel, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Wretched Cuts is the new solo EP by gender-nonconforming techno artist, Projekt Gestalten. The release comes via the New York’s Mild Fantasy imprint run by DJ Elle Dee and features three original themes focusing on introspective techno plus a remix by veteran, The Lady Machine.

The project reflects an array of themes using as the starting point the story of Estamira and the Brazilian documentary of the same name, telling her life story. Estamira was an incredibly enlightened older woman who scattered one of the largest landfills of Rio de Janeiro for food. Not because she had to, but because she loved that place as she loved “her own children” and enjoyed making a living out of other people’s disposable goods. Simultaneously, while dealing with schizophrenia and abuse, she believed she was a superior spiritual being whose magical powers could control time, space, and other elements of nature.

The tracks are inspired by some of her most memorable quotes and moments that made an impact on Projekt Gestalten. “Wise People In Reverse” goes into a darker approach and samples Estamira’s voice talking in a mysterious unknown language with an unrevealed force, using only a broken piece of a telephone that she had just found it in the trash. “Morte Macaca” takes a rhythmic approach towards dub techno, and “Holographic Principle” gets trippier and hallucinogenic with Projekt Gestalten’s signature acid lines. The Lady Machine’s “Wise People In Reverse” remix takes the original theme to a driving, peak hour approach and transforms it into an effective DJ tool.

“There are no more innocent people on Earth, only wise people in reverse”.

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

• The Love Affair was formed in 1967 (originally as the Soul Survivors) and burst onto the UK charts in January 1968 when ‘Everlasting Love’ reached # 1. Featuring lead singer Steve Ellis’ distinctive vocals, this was followed by four more Top 20 hits, three of which were Top 10, including ‘Rainbow Valley’ (# 5), ‘A Day Without Love’ (# 6) and ‘Bringing On Back The Good Times’ (# 9).
• Side One of this album features all five hits (including a re-mastered version of ‘Everlasting Love’) plus the single unreleased at the time, ‘Time Hasn’t Changed Us’, after which Steve Ellis left the band.
• Side Two features six highlights from Steve Ellis’ solo career, starting with two favourites by Ellis, the band he formed with Zoot Money, produced by Roger Daltrey. Next up are covers of Jimmy Webb’s ‘Evie’, and also ‘Rainy Night In Georgia’. Taken from Steve’s 2018 album, ‘Lonely No More’ and ‘Cry Me A River’ both feature Paul Weller as co-writer, performer and co producer.
• The inner sleeve features liner notes by Steve Ellis and photos and memorabilia from his own collection. The record is pressed on 180g gold vinyl.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• In January 1985, The Mark Four reformed for a one-off show in Cheshunt, and subsequently Eddie Phillips and original lead vocalist Kenny Pickett reunited to make some new Creation recordings. At the time, only two tracks – “Spirit Called Love” and a new version of “Making Time” – were issued as a single in 1987, before the record label went out of business. These two tracks plus the remainder of the recordings were finally issued as the album “Psychedelic Rose” in 2004.
• The album is pressed on 140 gram clear vinyl.






[f] B1. Making Time [new version]

This reissue of Nina Simone’s ‘Forbidden Fruit’ includes a bonus album, ‘Nina Simone sings Ellington’ plus 2 bonus tracks. On the 1960/1 recording Nina sings and plays piano, accompanied by Al Shackman, guitar Chris White, bass and Bobby Hamilton, drums.
The bonus album was recorded in 1961 with an orchestra conducted and arranged by Ralph Burns. The two bonus tracks are from 1957 with Jimmy Bond on bass and Albert “Tootie” Heath on drums. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “With Forbidden Fruit, Simone became one of the defining voices of the 1960s.” Penguin Guide to Jazz

In 1990 Neil Hannon started recording and releasing under the name The Divine Comedy. Thirty years and twelve great albums later, Hannon is rightly adjudged one of the finest singer songwriters of his generation. To celebrate, Divine Comedy Records are updating and reissuing the band’s catalogue.

‘Foreverland’ - a record about “meeting your soulmate and living happily ever after... and then what comes after happily ever after” - was first released in 2016. Mojo described it as “Funny, learned and
poignant by turns,” while Uncut said it was “sumptuous, orchestral pop laced with lyrical absurdity.”

The album includes singles ‘Catherine The Great’ ‘How Can You Leave Me On My Own’ and ‘To The Rescue’.

The updated LP edition consists of the original album, packaged with a digital download code for the album plus bonus tracks of demos and alternate versions lovingly curated by Neil Hannon, much of which have never been heard before.

The LP is pressed on heavyweight black vinyl in a gatefold sleeve accompanied with photos, credits and extensive liner notes written by Neil, covering the context and inspiration behind the album and
its songs.

Based on a short-story by the master of horror and fantasy, author Clive Barker (Hellraiser), Rawhead Rex is set in 1980’s rural Ireland. The Demon, alive for millennia and trapped in the depths of hell, is unleashed on the sleepy local farming community. Remembered faintly through pre-Christian myth, the only one that can stop Rawhead's bloody rampage is the historian, desperately racing against the time.
This is the first ever release for the soundtrack by Colin Towns, one of Europe’s most prolific film, television and theatre composers, but also a pianist, songwriter, arranger, producer and collaborator, known for The Puppet Masters, Space Trackers, Maybe Baby, Foyle’s War, Doc Martin, Pie In The Sky.
"The first film I scored was Full Circle which starred Mia Farrow and is still in the BFI top ten for best score for horrorfilms. I felt that film was more of a dark scary mystery. Rawhead Rex on the other hand was clearly a horror film 100%. I visited the film set in Ireland during the filming to take in the atmosphere and meet the actors after which I decided to record the music at CTS in London with a sixty piece orchestra plus electronics. I have always orchestrated my own work and had a wild time with Rawhead which is what I really love doing". Colin Towns

Jorge Caiado’s new “Cycles” EP, offers 3 strong versions of title theme plus a remix by Detroit legend
Mike Huckaby. A house/techno manifesto that takes his artistic vision one step further, placing him as
a cutting edge producer internationally supported by the likes of Move D and others.

From Lisbon via Detroit, “Cycles” will make any worldwide dancefloor take a peak. So grab it, play it
and check the results. Limited repress.


Pantera’s final opus, Reinventing The Steel, represented a recommitment to everything the band loved about heavy metal. Released in 2000 at the peak of nu-metal’s popularity, the album’s back-to-basics approach flew in the face of the trend and served as a potent reminder of the enduring power of primal metal.

Pantera’s 9th and final studio album turns 20 this year and is celebrated with this 2LP set, pressed onto 180g audiophile silver vinyl, featuring the new Terry Date mix on one album, plus eight rare bonus tracks making their vinyl debut on the other.

The album received widespread critical acclaim as well as high praise from fans, who voted the album as Album of The Year 2000 as well as voting the single “Revolution is My Name” Single of The Year 2000. The album also ranked No.2 on Guitar World’s readers’ poll for Top 10 Guitar Albums of 2000.

Sharpen, Moving celebrates five years of the Timedance imprint, blending the labels original aesthetic and opening it up into new corners of leftfield club music. Artists featuring include the regular faces of Batu, Bruce, Ploy and Metrist, alongside newcomers Kit Seymour, Akiko Haruna and Mang x GRAŃ. Timedance also welcomes techno royalty Peter Van Hoesen with one of his most broken tracks to date, plus new appearances from Patina Echoes contributors Via Maris, Cleyra and Nico.
The compilation showcases Timedance's evolution from 'Bristol techno' to a more global conscious sound, incorporating energies from different scenes and synthesising them into new modern forms.

Outider sweet soul track by Mississippi Garage Band the Sypyres, 'Looking for a place' was originally the flip to Mark Prewitt insanly rare cover of Animals classic 'Baby Let Me Take You Home'. The new masters sounds significantly better than OG plus is on Vinyl rather styrene so its ready for bumming out the finest clubs and bars as soon as they open!! Big up to Brian Sears who did the reasearch on this one.

In March of 2020 bassist Dezron Douglas & harpist Brandee Younger were nestled in their apartment in Harlem, New York, not long after every live concert in the world was cancelled and most folks in the United States were forced to shelter in place for the covid lockdown. With all their gigs cancelled and their incomes strapped.. the two came up with an idea. They would host a live-stream performance from their living room, where they would perform classic tunes for friends and family to watch online, and folks could send them donations. They called it “Force Majeure: Brunch in the Crib with Brandee & Dezron,” the first part in homage to the ubiquitous contract clause that never seems to have any use (except all of sudden, c/o a covid-induced live music industry collapse). The immense popularity of their first performance roped them into doing it again, and again, until it eventually became a weekly ritual for Douglas, Younger, and their many friends and family who tuned in every Friday morning (ourselves included). Knowing the beautiful, natural sound they made in their living room would be as enjoyable (or more) as a record as it was through a social media stream… we mailed them a microphone to record themselves. What’s heard on this album, Force Majeure, is a collection of highlights from Douglas & Younger’s legendary lockdown livestream brunch sessions. It includes gorgeous interpretations of songs by Alice & John Coltrane, The Stylistics, The Jackson 5, Pharoah Sanders, Kate Bush, Sting, and The Carpenters… plus some solid gold nuggets of their banter between tunes. It’s an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary.

Dezron Douglas & Brandee Younger are long time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through their equally prolific careers. Douglas, a bassist who has established himself as a musician’s musician, is known to many for his work with Pharoah Sanders, Ravi Coltrane, David Murray, and Keyon Harold. Younger, a harpist who has distinguished herself as one of the premiere voices in her field, is known for her work with Jack DeJohnette, Charlie Haden, Stevie Wonder, The Roots, Lauryn Hill, and Moses Sumney. To the day Douglas and Younger often accompany each other in many of the ensembles they lead, respectively. The two played together in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Of Force Majeure, McCraven says: “It’s a testament to the power of music to uplift us through the most challenging times.

180g blue colored vinyl LP vinyl,

WRWTFWW Records is giggling with pleasure as it announces the official reissue of Richard Band’s director’s cut soundtrack for sci-fi horror comedy classic TerrorVision (1986).The limited edition blue-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers. It includes liner notes by Richard Band himself.

People of Earth
Your planet is about to be destroyed...
We're terribly sorry for the inconvenience

Conceived as a late 1960s Lost in Space type score with a 80s electronic twist, TerrorVision is one of the most unique soundtracks in Richard Band’s discography. Part oddball adventure, part eerie soundscape, it mixes the fun and flashy colors of the era with synth explorations that flirt with minimalism and experimental music. Band composed with a Yamaha CS70 plus twin ARP 2800s, a mini Moog synthesizer, as well as DX5 and DX7 keyboards, creating a groovy twilight zone of electrifying alien funk. The soundtrack also includes 5 numbers by deliriously wild LA band The Fibonaccis. One of a kind - like the movie itself!

This is released in conjunction with the soundtracks of Empire Pictures’ Ghoulies and Troll, also out on WRWTFWW Records November 20th. Established by producer and director Charles Band in 1983, Empire Pictures quickly became notorious for the horror-comedy classics made during its brief but legendary lifespan. With wild special effects, outrageous humor and over-the-top horror action, Ghoulies, Troll and TerrorVision were three of Empire’s finest works, and each movie featured an unforgettable score by Charles’ award-winning composer brother Richard Band.

(Full Uncut Original Soundtrack) 180g pink colored vinyl LP vinyl + 7"
WRWTFWW Records is ghoulishly happy to announce the first everl release of Richard Band’s full uncut soundtrack for cult horror comedy classic Ghoulies (1985).The limited edition pink-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers.The album is also available on CD house in a classic jewel case with cavalier and video store sticker. Both versions contain liner notes by Richard Band himself.

One of the most sought-after soundtracks from horror/sci-fi/fantasy film scoring master Richard Band, Ghoulies is finally getting the full official release it deserves. Packed with 16 tracks, plus two bonuses by Fela Johnson (including the fan-favorite "Dancing with a Monster", a true disco…monster!), it beautifully flows, covering all aspects of 80s b-movie horror music, from eerie vibes to palpable tension, full on satanic darkness, epic momentums, and just the right amount of wackiness. Band has a true talent for subtle tones and precise moods, fully capable of taking you on an uninterrupted magical ride/listening experience - one that feels like a trip to a 1985 video store and a whole world of mysterious treasures to discover!

This is released in conjunction with the soundtracks of Empire Pictures’ TerrorVision and Troll, also out on WRWTFWW Records November 20th. Established by producer and director Charles Band in 1986, Empire Pictures quickly became notorious for the horror-comedy classics made during its brief but legendary lifespan. With wild special effects, outrageous humor and over-the-top horror action, Ghoulies, Troll and TerrorVision are three of Empire’s finest works, and each movie feature an unforgettable score by Charles’ award-winning composer brother Richard Band.

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islan (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure. "Showdown" is released on vinyl LP by Mocambo Records and on CD and digital incarnations by Légère Recordings.

About the Mighty Mocambos:

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as Afrika Bambaataa, Lee Fields or Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years. Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily. Whoever witnessed a concert will tell you about the musicality, passion, energy, humour and joy that the band loves to bring to the people. Background What started out years ago as a take on "deep funk" and its associated vinyl culture has completely grown into its own oeuvre d'art. With the launch of their production studio and record label in 2006, things started to gain momentum. Apart from self-releasing the group's own recordings, Mocambo Records became a household name by putting out highly collectable vinyl 45s by today's best funk outfits as well as unearthing lost library funk treasures. The Mighty Mocambos however did not restrict themselves solely to their own label. Their interpretation of the Furious Five classic "The Message", released under a pseudonym on an obscure phantasy label without proper distribution, got picked up and remixed by Grammy- nominated producer legend Kenny Dope (Masters at Work, Bucketheads). Their first single with UK funk singer Gizelle Smith, "Working Woman", became an overnight smash and a prime-time club favourite of funk & soul DJs worldwide. Initially released on the Finnish private press imprint Old Capital, it got the remix treatment by Kenny Dope and a re-release on Kay Dee Records as well. After earning their credits through vinyl 45s, the band stepped up their game with the full- length "This Is Gizelle Smith & the Mighty Mocambos" in 2009. The album received rave reviews, got lots of airplay - and sold a bunch of physical copies too. Its success led to an extensive tour throughout Europe with club dates from Marseille to Oslo, performances at massive festivals such as the Printemps de Bourges in France and live radio appearances at respected FMs such as the BBC and Radio Nova. With the following album "The Future Is Here" (2011), the band stepped further into the spotlight and explored new sounds with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that had long gained international reputation. The album was toured extensively, including a legendary performance with Afrika Bambaataa at Hamburg's Reeperbahn Festival (covered by ARTE TV), support gigs for Lee Fields and headline shows at renowned venues such as Amsterdam's Paradiso, Islington Assembly Hall in London, Paris' Bellevilloise, Tempo Club in Madrid, or at home at Hamburg's Mojo Club. After producing the critically acclaimed debut album "En Route" (2013) of French soul singer Caroline Lacaze, where their adapted their sound to deliver a stunning mix of French Beat, Soul & Psychedelic Rock, the band went on to record a full length under their moniker Bacao Rhythm & Steel Band. Their interpretation of 50 Cent's P.IM.P. had long become a cult classic and was often mistaken for the original sample. The group's approach in stretching the boundaries of funk by adding Caribbean steel pans caught the interest of Brooklyn's finest label Truth & Soul who signed the band for the album "55", an explosive mix of funk and hip hop cover versions as well as original compositions that showcase the band's singularity in today's funk circuit. The Mighty Mocambos' recent album "Showdown" (2015) sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hiphop pioneer Afrika Bambaataa.

Mow Records proudly presents L’enfants De Kita, the third album from a series of five, all produced by label owner Mowgan. Each album features vocalists and performers with African heritage, channeling Mowgan’s passion for the continent’s diverse sounds into vibrant, highly emotive productions. On L’enfants De Kita he teams up with Fanta Sayon Sissoko, a female performer from West African nation Mali. Based in Toulouse, where the album was recorded, Fanta’s musical roots go deep - her father played guitar and ngoni for Baaba Maal and her grandmother is Kandia Kouyaté, one of Mali’s best-known griot singers.

Mowgan always dreamed of working with a female singer from Mali, enchanted by their vocal style. After moving back to France a few years ago he bumped into Eric Diaouré, an old friend who he worked with in his teens. Eric is also a musician and just so happens to be from Mali. Mowgan revealed his ambitions to Eric and a meeting with Fanta was arranged - within a few days they were in the studio together.

Like the other albums in this series, L’enfants De Kita is a fusion of Mowgan’s love for African music and his penchant for electronic sounds. Fanta’s raw, affecting vocals are complemented by Mowgan’s considered production throughout with additional instrumentation from a range of performers, including a group of schoolchildren on ‘Tubani’. Featured artists include Solo Sanou (whose album ‘Soya’ was the second release on Mow Records) playing percussion, Mamadou ‘Madou’ Dembele, a multi-instrumentalist who plays ngoni, Yohan Hernandez on guitar and bass plus Madani Touré aka Chanana (a famous Malian rapper from the nineties) contributing to lead vocals on the album’s title track, with Tim Xavier handling mastering.

Mowgan’s approach to creating albums is to get a vibe going with the singer, produce a batch of songs and then select the best seven for each LP. It’s a pressure-free attitude that has led to some truly heartfelt productions, which encapsulate the purity of the creative process when it’s liberated from rigid constraints. You can hear this freedom of expression throughout L’enfants De Kita, Fanta in her element as she sings with passion and grace across all seven tracks.

The album begins with the title song ‘L’enfants De Kita’, which pays homage to Fanta’s hometown, Kita, in Mali. It is the centre of griotism, the local style of passing on knowledge from one generation to the next via spoken-word storytelling. Chanana joins Fanta on this one, which is the most ‘western’ sounding cut on the LP, Mowgan’s deft touch taking us to the dance floor, while Chanana adds extra depth with his rapid-fire vocal refrain. The glorious ‘Tubani’ tells the story of Djene Tubani, a girl who thought she was a bird. She disobeys her parents and neglects her friends, but eventually learns the error of her ways. Fanta’s vocals are amplified by the voices of a group of schoolchildren, including her own daughter.

‘Mobaya’ is a reminder that we can possess wisdom and deep knowing, but we can also enjoy ourselves; dance, sing and party. This is a club-focused production with 4x4 beats and a traditional house feel, which provide a wonderful accompaniment to Fanta’s uplifting vocals. Next up is ‘Dakan’, a cut which is all about destiny: Everyone has been put on Earth for a reason and by working together we can all achieve our destiny. Layers of percussion skip over the warm low end, with a lively trumpet appearing in the second half.

‘Dounouya’ explores the notion that we live in a world where everyone faces negative criticism. Fanta encourages us to take responsibility and move forward no matter what others think of us with this inspiring guitar-led cut. ‘Djonya’ highlights the fact that slavery still exists in today’s world - modern slavery, hidden from public view but still very much alive. “Our Africa is going to be okay if we all hold hands, if we are all together, all united,” she says. Finally,‘Badeya’, a great outtro which focuses on unity. We are all one family on this planet and this song speaks of people coming together but also respecting ourselves above everything else. The pace is slow and the instrumentation perfectly balanced to allow Fanta’s vocals to flourish.

In the mid 90's, Julee Cruise and Eric Kupper were signed to the same music publisher, Warner Chappell. Patrick Conseil, who signed both, thought it would be a good idea for them to get together and collaborate. He was correct in that assumption, and this has lead to an enduring relationship, both creatively and as friends. These two tracks were originally intended as demos, but somehow got leaked onto YouTube, with positive response. Eric thought it would be a great idea to remaster the demos, keeping the raw edge, and give them a proper release, some 20 plus years later. Julee enthusiastically agreed.

Having been influenced by the likes of Roni Size, 4 Hero, Jacob’s Optical Stairway, LTJ Bukem and DJ Die (the latter of whom Eric did a collaboration with), Kupper was experimenting with drum and bass. He could often be spotted in London clubs 'The End' and 'The Globe' checking out and enjoying the music and the vibes.

'My Blue Yonder' is one of the few tracks Kupper has ever written lyrics to. They were inspired by his then toddler daughter, Zoe. One day, Eric found his 3 year old on the floor, wrapped up in a blue blanket, looking blissful. When he asked her what she was doing, she replied 'I'm in my blue yonder'. She had heard the phrase in a song from a children's video. Eric then sat down and wrote a moody yet childlike song about a utopia, based on his daughter's likes and dislikes, her joys and her fears. A compelling blend of orchestral arrangements, frenetic beats, and Julee's unique vocal approach. Julee has often commented that it is one of her favourite tracks she has ever recorded.

This collaboration also led to 'Satisfied', with lyrics and melody written by Julee. An ethereal somewhat existential track, with jazzy chords and pulsating arpeggios, it still has Eric's vibe, within a different music style. Julee's beautifully phrased vocals and lyrics bring the track to life, giving it a clear vision.

This is the first release on Kupper's new 'Hysteria misc.' label. A label for all kinds of music, electronic to acoustic, rock to experimental, and 'misc.'...

In Julee’s words, 'Thanks Eric, for doing this. I really love what we did'.

Our first release, VA001, is a compilation of artists that have previously played at our venue Colour! Our primary goal with this record was to showcase the diverse range of sounds that make the venue so special to us- from jazz to fusion to early morning trance. Additionally, we're trying to raise money to keep the venue afloat and get artists paid while they can't perform.

On the orange side, you'll get the late-night live music style we push upstairs, and the blue side would be the early morning dance music, plus more experimental electronic music takes. Every element of the club, in one stunning 12" liquorice pizza!