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Limited edition (200 copies) golden vinyl.

Michał Martyniuk, who lives in New Zealand, may be known from the band After 'Ours, whose double album was recently released by Funky Mamas and Papas Recordings.

His single was supposed to be released a moment earlier, but as it happens in the vinyl world - we had to wait a while for this wax.

Two of Michał's original songs, which he recorded with a great line-up: Jakub Mizeracki - guitars, Alan Wykpisz - bass, Tymek Papior - drums and of course Michał Martyniuk on keyboards.

The album is released in a super small edition of 200 copies, of which only 50 go on sale. The whole thing is being released by the reactivated Funky Mamas and Papas Recordings.

A real seven-inch rarity on gold wax.

A1 "3202" - This is one of those things that just happened. In his quest to discover something new in jazz, Michal combines and experiments with jazz harmony and groove club vibes, all performed using acoustic instruments. The aim is to encourage jazz audiences to get up and groove, and possibly introduce young people who like more upbeat music to discovering jazz. This Fender Rhodes based track is complemented by warm analog synths, a rock inspired guitar sound and tasteful drums that keep the groove going throughout the track. Recorded live in Poland late last year.

B1 "From The Planet Of The Hunters" - This track, as the title suggests, is a tribute to the great master Herbie Hancock. Michal has always been influenced by the sound of the Fender Rhodes and The Head Hunters. Without trying to copy anything, Michal based the song on a nice groove played by Alan Wykpisz on bass guitar and Tymek Papior on drums. While the groove takes us on a journey through time, Kuba Mizeracki on guitar adds beautiful melodies and rhythmic parts to complement the rest of the band. Michal Martyniuk, again with his Fender Rhodes, plays a simple but tasty and groovy solo, while adding some analog synths. This song is funky and rich in its simplicity.

Askkin's latest release, 'NECH027' marks his debut on Nastia's NECHTO. A former resident of techno nights at Faktice in Nantes, Askkin has found his footing in the Brussels techno scene. His work at Faktice, now a label co-founded with producer Exal, has garnered
attention across the European scene. With collaborations alongside artists like Hadone and releases on labels such as TWND and Maison Close, Askkin continues to develop a distinctive sound.
For Askkin, producing music serves as an expressive outlet, capturing a range of emotions and reflections. 'NECH027' conveys both introspective and uplifting moments, especially the
track "Social Medication" exemplifying his approach to blending light and darkness while maintaining a strong groove and energy.
The EP features five tracks: "Keep Your Chin Up", "Not All Silences Sound The Same", "Social Medication", "Tick", and "Yes". Each track showcases Askkin’s focus on deep emotions with a touch of hope, making 'NECH027' a notable addition to his growing discography.

Screaming Crow Records has taken the first six Action Rock Jukebox 45s and combined
them into one great compilation along with two bonus tracks. This series features the best
up and coming Action Rock bands from all over the world. Each band submitted a cover
that would have been found on your local jukebox back in the 70s/80s and then backed it
up with their own kick ass original.
Featuring Scumbag Millionaire, Stacy Crowne The Cheats, and more!

Dischi Fantom’s Sussurra Luce series, blurring the boundaries between text, music and voice, returns with their fifth instalment, an expanded version of Hanne Lippard’s “Talk Shop”. Sculpting a fascinating bridge between radically experimental sound practice, conceptual art, and sound poetry, across its two sides the Berlin based multidisciplinary artist taps an almost dada sensibility, delivering a suite of poems and texts where singular words and sentences are looped and repeated creating a sensory experience of the efficiency and stress found in our private as well as public life.

Roughly a year ago, we had the pleasure of exploring the first two releases from Dischi Fantom’s emerging Sussurra Luce series, Ginevra Bompiani, Caterina Barbieri, and Tomoko Sauvage’s “Il Calore Animale” and Francesco Cavaliere’s “Zoomachia Disc 1”. An extension of the Milan based cultural platform Fantom’s broad and diverse activities (exhibitions, installations, performances, etc.) across numerous artistic disciplines, the series, curated by Francesco Cavaliere and Massimo Torrigiani, delves into the “science of imagination”, working with contemporary authors to explore and blur the boundaries between text, music and voice. Now the brilliant series returns with its latest entry, the Berlin based multidisciplinary artist Hanne Lippard’s “Talk Shop”. Released in a limited edition of 200 copies and coming with an LP-sized booklet, it combines orality and textuality with the idea of loop and repetition to explore the notion of time, and it’s a stunning gesture of performative poetics that plums a startling range of subjects through its sonorous forms.

Working across the fields of text, vocal performance, sound installation, printed objects and sculpture, for more than a decade Hanne Lippard has deployed language as the raw material for her work. Working within a practice that rests at the juncture of the spoken and written word, drawing upon content appropriated from the public sphere (found text) intertwined with her own words, Lippard’s work investigates how the rise in digital communication and mediation reprograms our relationship to language, presenting the subsequent fragility of language - its flaws, oddities, and potential for misinterpretation - and its attempts to convey meaning and sense.

“Talk Shop”, the fifth instalment of Dischi Fantom’s Sussurra Luce series and Lippard’s third recorded release - building upon the ground of 2020's “Work”, issued by Collapsing Market, and 2021's “PigeonPostParis”, released by Boomkat Editions - began as a live performance. Combining orality and textuality with the idea of loop and repetition to explore the notion of time, its relationship with the world of work today, and its personification through the experience of the human body - anonymity as the spearhead of the digital economy - the conceptual underpinnings of the piece depart from the notion that the human voice has become commodified by the ubiquitous nature of contemporary productivity, and intertwined with the mechanics of capital - the voices of satnavs, smart speakers and voicemail systems - while the written word has become increasingly anonymous online.

Addressing vocal anonymity as a spearhead of the digital economy, Lippard’s “Talk Shop” - regarded by the artist as “a compilation of poems and texts where singular words and sentences are looped and repeated creating a sensory experience of the efficiency and stress found in our private as well as public life” - taps an almost dada sensibility through its unexpected layers of meanings drawn from a maximalized approach to the potential of the human voice, creating an engrossing and challenging listen from the first sounding to the last, that continues to reveal itself and unfold with every return.

Sculpting a fascinating bridge between radically experimental sound practice, conceptual art, and sound poetry, it culminates as one of the most strikingly singular creative gestures we’re likely to encounter this year. Highly recommended and not to be missed.

Hanne Lippard (Milton Keynes, 1984) explores the social forms that govern discourse. Her artistic practice, which mainly takes the form of reading and sound installations, investigates the voice as an instrument of emancipation and alienation in times of hyper-connectivity. By mixing personal thoughts and appropriating texts from advertising, slogans and newspaper articles, the text becomes a mix of private and public that regains inventiveness and authorship through the use of the voice, becoming a body of its own. Her recent artistic research has focused on the use of the female body as a container of sounds, on the conscious and unconscious automation of speech and language.

This album took fuckin" forever, even longer than Decline. we started in December of "99 and finished in February "00. Of course we took the holidays off and we went on a three week tour in Jan. We recorded like 22 songs, but we scrapped 8 of them. We"ll finish them some other time. The title track "Pump Up The Valuum" got cut from the album. That"s wierd. we gave it to Epitaph for Punk O Rama 5. There"s another song called "San Francisco Fat" that is gonna go on the next fat comp. I guess a lot of the songs on this record are about drugs. I guess that"s because we like drugs and like singin" about them even more. well our drummer doesn"t like them so much. He did so much of em he had to quit seven years ago. But he"s not writing the lyrics. Am I rambling, I feel like I"m rambling, any way, I like this album. there"s no ska, no reggae, no jazz, just punk and punk and a little polka. I don"t feel the need to ever play a ska song again, but ya never know. Yes, I definitely think I am rambling.

‘Only Fans’ ft. Digital Liquid, taken from Joseph Malik’s acclaimed ‘Proxima Ebony’ album of last year, gets the first-class remix treatment from London’s legendary production duo, X-Press 2. Joseph delivers an impactful vocal, waxing lyrical on his memories of being brought up around sex workers, underpinned by Digital Liquid’s acid worm lead, as X-Press 2 unleash a sublime dance floor slayer loaded with catchy hooks, jackin’ beat wizardry and dynamic production. Propelling the song into another stratosphere, the duo have created the chugging Lo-Fi 'Back Room' behemoth, armed with slo-mo breakbeats and a badass dubby bass groove, culminating in hypnotic groover that would make the late and great Mr Weatherall very proud.

Scotland’s Joseph Malik has crafted a fantastic catalogue of music over the decades and is highly respected for his distinctively soulful voice and on point song writing skills. Together with co-producer, David Donnelly, he released his first album, ‘Diverse Part 1’ (Compost) in 2002. This was followed by ‘Aquarius Songs’ album (2004), and ‘Diverse Part 2’ album (2018) on Ramrock Records which was ‘Album of the Month’ on Gilles Peterson’s BBC 6Music show. Joseph’s ‘Diverse Part 3’ album (2018) was Craig Charles’ BBC 6Music ‘Album of the Year’. Joseph then released ‘Diverse Part 3 Variant Issue’, the remix album (2022) and most recently his outstanding ‘Proxima Ebony’ album (2023) on Ramrock Records to great acclaim.

London’s X-Press 2 have been at the vanguard of British electronic music for three decades. In that time this acclaimed DJ and production duo, alongside Ashley Beedle, have turned out many hits. Both Rocky and Diesel have a truly pioneering spirit that fueled early nineties underground anthems such as the percussive ‘Muzik Express’, ’Kill 100’, the 2003 Ivor Novello Award winning single ‘Lazy’ and ‘Give It,’ with vocalists Talking Heads’ David Byrne and Lambchop’s Kurt Wagner. They’ve continued to turn out powerful club cuts such as ‘Tonehead Chemistry’ and ‘Siren Track’, and recently delivered big remixes for Gabriels, David Holmes, JIM and David Kitt. To date, X-Press 2 have released 4 albums, including their recently released, ‘Thee’, album on Acid Jazz. Rocky and Diesel are still fanatical about the music they play and produce, they still very much have their finger on the pulse and continue to lead from the front.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London, Nottingham and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in!

Forged in the fertile acid house scene of the late 80s, A Trifle Too Far comprises childhood friends Simon Ward and Tony Grimley from Hornchurch, on London's outer fringes in Essex. Their insatiable thirst for seeking out new sounds led them to countless shindigs, parties and raves, eventually inspiring them to craft their own music based on their adventures on the dancefloor.

Their studio collaboration culminated in the creation of the remarkable record you currently hold in your hands: 'Catch Your Ear / Meringueatang'. This two-track release, recorded in 1992, offers forward-thinking and fresh prog-house cuts, as rare as hen's teeth and as exhilarating as they were upon their original release over three decades ago. Catch Your Ear was expertly engineered by Evren Omer, boss of Essex-based techno bunker Strategy Records, while Meringueatang was helmed by Matt Clayden, one half of M&M and Acorn Arts and the proprietor of X-Gate Records, another stalwart in Essex's underground dance scene.

'Catch Your Ear / Meringueatang' remains the only musical collaboration between the duo. When Mint Condition approached them to reissue this highly sought-after EP, both Simon and Tony were surprised and delighted in equal measure by the proposition. Now, a few months down the line, we find ourselves with yet another top-tier addition to the MC reissue catalogue, fully licensed from the artists, mastered and cut by Keith Tenniswood at Curve Pusher, and available once again for purchase. Do not resist the beat!

Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in '2001: A Space Odyssey', is Blake's far-reaching canvas on 'No Sound In Space', a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life.

Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed ‘Ultraviolence’ full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. "I didn't want to ruin it by being a perfectionist," he laughs. And his collaboration with Kenyan sound artist KMRU, who runs the OFNOT label and contributes to two of the tracks on the album, occurred similarly organically.

Blake was moved to reach out to KMRU when he caught a performance of 'Natur' at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. They didn't meet in person until earlier this year, by which time they'd become firm friends, continuously sharing music and conversation. KMRU had lent a valuable ear to Blake, who sent early playlists of 'NSIS' that, over the months, slowly evolved into the finished album. It's the first release on OFNOT that's not by KMRU himself; the label emerged last year with the release of KMRU's own 'Dissolution Grip', and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided KMRU with the tracks' raw stems, which KMRU began to edit and expand in his Berlin studio. 'Miura' and 'Waiting' are the result of this process, two sublime abstractions that augment Blake's dreamlike, euphoric tones with KMRU's pebbly distortions and booming low-end rumbles. And this same playful sense of freeness seeps into Blake's other compositions.

On the misty 'In A Cloud', he surrounds cascading string tones with soft-focus pads that swell until they're like crashing waves, and on the two 'Echoplexx' pieces, he uses delay and reverb to smudge his sounds until they're viscous residue, the harmonies obscured by whooshes of white noise and distant chimes. The mood is quieted somewhat on 'Moving Air', as Blake's swirling tones form half-heard lullabies, coalescing into a dense, melancholy crescendo, and he fills out the sound with reverberant airport recordings on 'Pan Am', letting pitchy My Bloody Valentine-esque drones warble beneath the transitory chatter. Each track melts into the next, forming a billowing, cryptic narrative that leaves more questions than answers. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in '2001: A Space Odyssey', is Blake's far-reaching canvas on 'No Sound In Space', a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life.

Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed ‘Ultraviolence’ full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. "I didn't want to ruin it by being a perfectionist," he laughs. And his collaboration with Kenyan sound artist KMRU, who runs the OFNOT label and contributes to two of the tracks on the album, occurred similarly organically.

Blake was moved to reach out to KMRU when he caught a performance of 'Natur' at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. They didn't meet in person until earlier this year, by which time they'd become firm friends, continuously sharing music and conversation. KMRU had lent a valuable ear to Blake, who sent early playlists of 'NSIS' that, over the months, slowly evolved into the finished album. It's the first release on OFNOT that's not by KMRU himself; the label emerged last year with the release of KMRU's own 'Dissolution Grip', and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided KMRU with the tracks' raw stems, which KMRU began to edit and expand in his Berlin studio. 'Miura' and 'Waiting' are the result of this process, two sublime abstractions that augment Blake's dreamlike, euphoric tones with KMRU's pebbly distortions and booming low-end rumbles. And this same playful sense of freeness seeps into Blake's other compositions.

On the misty 'In A Cloud', he surrounds cascading string tones with soft-focus pads that swell until they're like crashing waves, and on the two 'Echoplexx' pieces, he uses delay and reverb to smudge his sounds until they're viscous residue, the harmonies obscured by whooshes of white noise and distant chimes. The mood is quieted somewhat on 'Moving Air', as Blake's swirling tones form half-heard lullabies, coalescing into a dense, melancholy crescendo, and he fills out the sound with reverberant airport recordings on 'Pan Am', letting pitchy My Bloody Valentine-esque drones warble beneath the transitory chatter. Each track melts into the next, forming a billowing, cryptic narrative that leaves more questions than answers. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

*** TRILOGY ***
post-punk experiments

VOLUME 3 of a series of 3 re-releases of the 80s underground solo cassette tapes by Menko Konings (aka EM / Menko / eM.)

This third re-release/remaster is the cassette tape album “To To New York” (1984) by EM

Remaster (2024) by Rude 66

Limited edition of 50 (hand numbered) green colored cassette tapes with original J-card

“When I went solo in 1983 I only had a guitar, a bass and a four track cassette tape recorder. Sometimes I borrowed a rithmebox or a synth for a couple of days. These solo cassette tapes were created in that period.” (MK)
Music journalist Oscar Smit described these tapes in the 80s - in his column Dolby of the legendary Dutch magazine Vinyl - s.a.: “Big city music, metropolis beat, drum composers, funking basses, nervous rhythm guitars, radio and TV sounds in the background and intonationless vocals.”

Menko Konings was also the founder s.a. of S.M. Nurse, Plastic Cocon, No Honey From These and Top Tape.

Two acclaimed releases into their short career - a debut EP and a split 7" with Citizen - Virginia's Turnover have quickly grabbed the attention of a scene of angst filled teens and twenty-somethings who grew up on Drive-Thru records classics and 90's grunge radio. Turnover spent a month last November with producer Will Yip (Title Fight, Circa Survive) and emerged with Magnolia. Their debut LP fulfills the promise set forth in their prior releases - contemplative, brooding pop-punk songs written with a somber, yet undeniable catchiness.

The songs that grace this comprehensive double vinyl package all come from the golden age of country music. For nearly a century now, country music has been captured on cylinder, vinyl, tape and compact disc. In America during the 1950s, while rock & roll battled calypso as the nation’s favourite sound, meanwhile in the background, these classic country songs could be heard across the land - all the way from the Gulf of Mexico, right up to the frozen wastes of Minnesota. After the golden age of what might be called pure country, came country-rock, alt-country and Americana. But the century of songs gathered together here is plain and simple country music - at its best

In 2019 the debut album “Attitude” by Lonerider was released, a band that not only features Steve Overland (FM, Solo, Shadowman), Steve Morris (Heartland, Shadowman) and Chris Childs (Thunder) but legendary drummer Simon Kirke of Free and Bad Company fame. The band come across like Bad Company mixed with Shadowman and their debut “Attitude” was loved by many. Lonerider have the feel of that classic Bad Company that we know and love, yet the songs are modern, fresh and vibrant. In 2022, the follow up album titled “Sundown” was released boasting 12 new tracks of classic rock in the same vein as “Attitude”, well why change a winning formula? The band have continued to attract new fans and they have all been eagerly awaiting a third outing and it’s due for release in November, 2024. The album “Down in the Dust is released on 15th November in both CD and limited edition (500 all numbered) double vinyl. The Vinyl will have 3 bonus tracks. This is an extension of what this exciting band have already given us, and it just keeps getting better. The addition of Steve Mann (Lionheart / MSG) adds so much with that Hammond organ vibe, giving it an “old school” feel and yet the band continues to expand on fresh ideas and melodies. There are no fillers here. Once again, the Lonerider lineup excel themselves in giving us another fine release.

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Entirely self-produced at Mood Hut Studios in Chinatown, Vancouver between 2022 and 2024, the album picks up where Opening the Door left off; the songwriting concise and refined, the voice front and centre on almost every song, the pensive mood irresistible and dense.

The apparently effortless melodic interplay of voice, guitar, synthesizers and bass that Jack is well known for is ever present but despite the clear-eyed harmonies and energetic rhythms there is a shadow that quietly haunts the album. The lyrical buoyancy of his early EPs and even some of the more explicitly sunburnt instrumental moments of his last record have continued to fade and peel like paint. Regret, remorse and melancholy are woven into almost every turn of phrase; the self-deprecating longing of Tracey Thorn and Sade Adu can be heard alongside the plaintive echos of Mark Hollis and Arthur Russell. The Mood Hut Records founder and NTS host digs deeper in all the directions that he only brushed upon on Opening the Door, creating a kaleidoscopic index of his omnivorous listening habits: from Underworld to Kate Bush, Disco Inferno to Bryan Ferry, Julian Cope to Arthur Verocai.

The LP will be released on Jack’s own Mood Hut Records on November 1st and will be followed by a live tour in the UK and Europe in November and December, featuring a string of dates opening for revered Los Angeles artist Jessica Pratt.
- Mood Hut Records, Vancouver

Produced by Jack Jutson at Mood Hut Studios, Chinatown Vancouver
Mixed by Jack Jutson and CZ Wang
Saxophone by Linda Fox
Strings on Falling Down a Well by Aiden Ayers
Bass on Down the Line by Diego Herrera
Additional synth on Red Cloud by Liam Butler
Artwork by Mela Melania + Jack Jutson






e A5. Pink Shoes Part I





Part II

2024 Repress!

“You Are Safe” – a title illustrating the safe haven, Keinemusik has built itself over the last years. This self determined action space of the DJ/producers Rampa, &ME and Adam Port; Reznik who’s favouring the DJ booth to the studio and painter/visual artist Monja Gentschow. At the same time it makes an offer to every listener: put your headphones on, boogie around your living room, let go, forget everything around you. When this is on – you are safe.

Repress!

You know it's going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil. Add on top of that, being sampled by Madlib on the track 'Curls’ on his Madvillain album!

Taken from Waldir Calmon's 'Waldir Calmon E Seus Multisons' album on Copacabana (1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn't expect it to become the fabric to one of the songs from the iconic 'Madvillain’ album. But… like many things in life, you shouldn’t judge a book by its cover. 'Airport Love Theme’, like its name suggests, falls into full-on lounge territory. It’s feel-good music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard.

'Afro Son' taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition. This quirky 60's-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey's 'E.V.A.', also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism.

Waldir Calmon had an active career in music working from the '50s right up until his passing in 1982. His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early '50s to a long-running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi, João Gilberto and Doris Monteiro.

• Next installment in BRAZIL 45 Series.
• Sampled by Madlib on the track ‘Curls’ from his ‘Madvillain’ album.
• Quirky, cinematic, breakbeat-laden exoticism.

‘BRAT’, Charli XCX’s sixth studio album, will be released on Friday 7th June and is available for pre-order now on Vinyl and CD with the full tracklist available.

‘BRAT’ is the eagerly awaited follow up to 2022’s ‘CRASH’, which reached number 1 on the UK’s official album chart, and promises to be an exhilarating club record built around high art references and social commentary.

Avant-pop and electronic superstar Charli XCX has become an iconic figure in the arts, having

helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and mainstream with her artistic output. Over the course of a trailblazing career, the multi-hyphenate creative has earned critical acclaim for her innovative style and

entrepreneurial spirit and seen her forward-thinking approach reshape pop culture in the process.

Her lasting impact was cemented last year when Charli was honoured with the Visionary Award at the annual Ivor Novellos in London, while she also received the Powerhouse Award at Billboard’s Women In Music ceremony in Los Angeles in March.

Repress 2025

Huey Mnemonic (Detroit) and D. Strange (Chicago) are not only interested in the future, but they offer a stark reminder of an ever desolate present.

Their split EP State of Emergency (via Mnemonic’s Subsonic Ebonics label) sonically structures a bleak narrative across 4 electro-laden tracks from the midwest-based producers.

The escapade begins with “Black Manta Corps”, Huey’s classically styled 808 programming accompanying modulated analog synth play up front, while a stirring crescendo of soundtrack-esque chords provides cover from the rear. “Red Alert” offers the juxtaposition of funk-tinged bounce to a searing siren lead. Midway we’re offered a brief moment of repose with Huey demonstrating a masterful computer-funk bridge before the sirens’ sobering tone returns.

D. Strange continues the journey lacing haunting synth interplay that steadily stacks the tension alongside stimulating melodies, chest-pounding bass, and scattered triplets on “Exoframe”. While “Drapetomania” closes things out with zipping percussion, a mutated bass line, and atmospheric droning pads panning like a shadow creeping closer and closer…

Liquor Talkin’ is the debut studio album from Texas-based country artist Don Louis. Born in Irving and raised on a 12-acre farm in Commerce, Texas, Don Louis learned the meaning of work early on. He grew up tending to livestock, singing along to George Strait and Al Green, and playing football. Done was an All-District defensive end for Commerce High School and played on scholarship at Ouachita Baptist and Southern Arkansas. He performed well at NFL combines, but an injury in 2020 changed everything and Don son found himself chasing his other childhood dream - being a professional singer. Don’s mix of Country, Rock, and Rhythm and Blues has been winning over loyal fans from the start. He’s shared the stage with acts such as Dylan Wheeler, and Don’s personality and gritty voice have also earned him a healthy following on Spotify and social media. Ask Don how he’s doing and he’ll often reply, "I'm blessed and highly favored!” That attitude says it all.

Limited black bio-vinyl (600 copies worldwide) with obi-strip and download card.

THE GREEN CHILD has grown into four people. Originally the recording project of Raven Mahon (furniture maker and member of Grass Widow, Rocky) and Mikey Young (recording engineer and band member of Total Control, Eddy Current Suppression Ring, Shutdown 66), The Green Child now boasts Shaun Gionis (of Boomgates) on drums and Alex Macfarlane (who runs the excellent label Hobbies Galore) on guitar and synths.

Here we have the third LP by the excellent Guy Hamper Trio, featuring James Taylor on Hamond organ, and Guy Hamper on guitar (sometimes called Childish) and what a first-class LP this is! 'Instrument of Evil' in particular has a very eerie vibe. We asked the man himself what was the inspiration for it? G.H. The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP (with Thee Headcoats standing in as rhythm section). A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible- "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. The track also features contributions from Tom Morley (trumpet) and Anna Jordanous (sax) . Both Were a pleasure to work with. My job at the wheel is to basically make a playground and let Jamie, Anna and Tom loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "you're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Other titles are taken from early poetry chapbooks I made in my youth. 'The First Creature is Jealousy' and 'Dog Jaw Woman' being examples. The title 'Incense Rising From a Censer' comes from Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. They are all excellent tracks. I imagine film companies will be queuing up to use many of them.

Transcendental poetry meets Southern Nightmare Jazz on the third album by Alabama-based artist Johnny Coley Mister Sweet Whisper is the meeting of poet & artist Johnny Coley and the band Worst Spills, led by guitarist & arranger Joel Nelson. (Imagine "King Tubbys Meets Rockers Uptown," but more like "William Burroughs Meets Lounge Lizards in Ghost Swamp"). Joined by vibraphone player and recordist of the group, Jasper Lee, Mister Sweet Whisper centers Coley as a gifted writer and unique elder voice, supported by an eclectic cast of friends & collaborators. Tapping into French surrealism and transgressive American poets such as John Ashbery, the songs in Mister Sweet Whisper evolve, cinema-like, with Coley as an uninhibited, almost mystical, narrator. Textural, jazz-like playing complements Coley's decadent landscapes, which glide by like cigarette-inspired invocations. Echoing, and at times, dissonant notes of saxophone, crystalline tones of vibraphone, and jagged guitar arrangements punctuate Coley's dreamlike visions, populated by ballet dancers, haunting nightclubs, and ghostly car drivers. Wistful and expansive, the songs in Mister Sweet Whisper speak of Coley's talent and natural ability to channel his poetic world into songs. A remarkable follow-up to Coley's first two albums_Antique Sadness, from 2021, and Landscape Man, from 2022_which were praised as "exquisitely haunting, sublime, hilarious" and falling "somewhere between Robert Ashley, David Wojnarowicz, and Intersystems," Mister Sweet Whisper arrives in full form: unpredictable and brilliant. LP comes with a 4-page booklet featuring artwork and writing by Johnny. Pressed in black vinyl.

**Synopsis:** Kazuya Kinoshita is a fairly ordinary college student who has just been dumped by his girlfriend, who decided to move on. Devastated and feeling at rock bottom, he decides to download the new trending app, Diamond, on his phone and rents a new girlfriend to feel better. He ends up meeting a certain Chizuru Mizuhara, a young woman who, at first glance, seems to have everything he's looking for.

This vinyl includes songs dedicated to each girl from the anime (Ruka, Chizuru, Nami, Sumi) sung by their respective Japanese voice actresses, as well as the corresponding instrumental versions. Each song reflects the adventures, thoughts, and emotions that each of the girls experiences.

„Brighter days are up ahead“, verkündet Dwight Yoakam im Titeltrack seines neuen Albums Brighter Days, seiner ersten Veröffentlichung von neuem
Originalmaterial seit neun Jahren. Brighter Days wurde in den letzten drei Jahren geschrieben und aufgenommen und enthält 12 brandneue Songs,
die von Yoakam geschrieben bzw. mitgeschrieben wurden, sowie zwei scheinbar ungleiche Coverversionen von „Keep On The Sunny Side“ von der
Carter Family und „Bound Away“ von Cake, die kunstvoll und in dem unverwechselbaren Stil, der nur von Dwight Yoakam stammen kann, zu einem
Gesamtwerk verwoben wurden. Die mitreißende Leadsingle „I Don't Know How To Say Goodbye (Bang Bang Boom Boom)“ wurde von Yoakam
speziell für eine Zusammenarbeit mit dem selbsternannten Dwight Yoakam-Superfan Post Malone geschrieben.
Yoakam hat Brighter Days selbst produziert und dabei eine moderne Reverenz an die Geschichte der Country-Musik mit dem Pioniergeist des
kalifornischen Rock'n'Roll verbunden. Das Ergebnis ist eine Mischung aus handwerklichem Können und Unmittelbarkeit, die den typischen Dwight
Yoakam-Cool“ einfängt, der den zweifachen Grammy-Gewinner seit Beginn seiner legendären Karriere von seinen Country-Kollegen unterscheidet.
Wie üblich sind Yoakams Texte auf dem gesamten Album sowohl täuschend mühelos als auch ergreifend. Brighter Days wurde von dem
Weltklasse-Ingenieur Chris Lord-Alge abgemischt.

This is the lead off track to The Cocktail Slippers’ upcoming album, Shout It Out Loud, out Sept 17

Here, gleaming tensile techno forms clean, straight lines while scratchy acoustic guitars scuff up edges to produce

ghostly audio. Poetry is snatched from the overhead, removed from the overheard; words borrowed from the ether are

spun into dizzying new shapes, sometimes reappearing in new settings, twisted back to front, side to side. Each track a

very different room - some soundtracked by little more than metronomic kick drum and robotic voice, others deep in

layer upon layer of melody and euphoric noise - and each room unmistakably, uniquely Underworld. The only advice

from Underworld’s Rick Smith and Karl Hyde upon entering: “Please don’t shuffle.”

Strawberry Hotel features the singles ‘and the colour red’ and ‘denver luna’, as well as new release ‘Black Poppies’ - a

celestial love song, a hymn to the universe and to boundless, positive change. Ambient and beatless, Black Poppies is

a celebration of full dancefloors and the beauty of life itself.

Underworld are Rick Smith and Karl Hyde. Their peerless first album - dubnobasswithmyheadman - was released to universal acclaim in 1994. In the thirty years since that mould breaking debut, the band have established their reputation as one of the most groundbreaking and important electronic acts of all time, one that constantly pushes creative boundaries, twists genres, and refuses to stay still. In those thirty years, their music has soundtracked approximately 100,000,000 nights out, and the mornings after. In the past year alone, Underworld have played live in front of over half a million people across the globe.

Emilia Sisco's debut album on Timmion Records, "Introducing Emilia Sisco", takes you on a smooth ride in the world of vintage soul, featuring 10 beautifully crafted original songs written by Sisco in collaboration with the renowned Cold Diamond & Mink band. The album showcases this young talent's unique ability to blend classic soul influences with contemporary flair, building mesmerizing harmonies by layering her voice, and through these channeling a sound that is both timeless and fresh. From the opening track "Say Yes" - grooving like an independent gospel soul jam that somebody discovered in dank Midwest cellar - to the closing "Secretly," each song is a testament to Sisco's deep connection to the emotional core of soul music. As one of the album's highlights, "Don't Let Nobody," stands out as a sweet anthem of love and encouragement for your fellow human. With its heartfelt lyrics and Sisco's gently floating vocal performance, the song displays the essence of the album_soulful, sincere, and deeply moving. The Cold Diamond & Mink band provides lush, downtempo arrangements throughout the record, perfectly complementing Sisco's voice and bringing her compositions to life with a rich, organic sound. In "Introducing Emilia Sisco" the singer's signature style of downtempo soul shines brightly, offering listeners a blend of introspective ballads and uplifting grooves. After her string of exquisite and well-received singles on Timmion, this album documents the impressive progress of a formidable new voice, one that is sure to resonate with fans of classic and contemporary soul alike.

Available for the first time on vinyl! Death Valley Girls - Live From the Astral Plane. Originally recorded back in 2020 in the heart of a global pandemic, the band reunited to record a live film in their practice space in Los Angeles, CA. "Wow! Getting to do this project was such an honor, and a treat! We finished recording our record Under the Spell of Joy one day before lock down. Rolling out an album under normal circumstances is a huge, and all consuming job. Then figuring out how to compassionately, respectfully, and successfully roll out an album during a world wide catastrophe, and especially an album about spells, and incantations for joy, was a real head scratcher! Getting to work on this live recording during that period allowed us to focus on a way we could be most helpful in a world of sorrow, and forced us to be creative. We were desperate to be of service. We realized astral projection - and concepts around leaving the 3D experience was an exciting idea. If we could connect people on the astral plane, we wouldn’t have to feel so alone! So we decided to start the session with an introduction on how to astral project! Learning how to meditate on this concept turned out to be the greatest gift, and a lasting escape during this terrible time. This recording finally getting to be on vinyl is so exciting! The idea that we can all meet up in sky, and leave our problems behind for a bit is such a fun exercise! Now all you gotta do is drop that needle and fly! Thank you for letting us !" - Death Valley Girls

Esteemed US musician Mike Viola is bringing his new album Rock Of Boston to our shores with a handful of shows in November, forming a special pick-up band with members of The Zutons and The La’s for the tour. Mike Viola is a producer, musician, songwriter and singer best known for his work with Panic! at the Disco, Andrew Bird, Dawes, Ryan Adams and Jenny Lewis. However his solo career stands on its own, starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 8 critically adored solo records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Rock Of Boston was recorded over the winter of 2023 on 8 track ½” tape at Barebones, Viola’s home studio in Los Angeles. Once again joined by his friends Jake Sinclair (Weezer, Sia, Panic! at the Disco) on bass and Brendon Urie (Panic! At The Disco) on drums. For UK shows Mike has roped in Sean Payne (The Zutons) and Jay Lewis (The La's, Cast) to join Jake Sinclair and himself on the road. Viola says, “I’m always writing songs, or pieces of songs, or riffs. My writing process changes every song, so I never get trapped in a method. I let the song lead me. While I was on a world tour playing guitar for Panic at The Disco, I wrote the bulk of this record on the bus between soundcheck and showtime. On the days off, I’d find a recording studio wherever we were and I’d book studio time to sneak away to lay down a few ideas. When the tour finished, Jake and Brendon came home to LA and we never stopped playing music together. We just switched from touring with Panic! to recording Rock Of Boston pretty seamlessly without a break. Maybe that’s why the riffs seem bigger on this record, we had spent all those months in hockey arenas around the world playing big music.”

19-track vinyl release for all the studio recordings made by the original line-up of Oi!
legends The 4 Skins. Includes a previously unreleased version of ‘A.C.A.B.’ originally
recorded for ‘Oi! The Album’.
Also features the band’s contributions to the ‘Strength Thru Oi!’ and ‘Carry On Oi!’
albums as well as their No.4 Independent Chart hit single ‘One Law For Them’.
Pressed in a gatefold sleeve that features all the lyrics, press clippings from the era
plus previously unpublished photos of the band. Initial pressing of 1000 on coloured
vinyl

The highly-anticipated sequel, Gladiator 2—directed by Ridley Scott and starring Paul Mescal, Pedro Pascal, and Denzel Washington—is an epic historical action film with a blockbuster original score by Harry Gregson-Williams. Gladiator II picks up in the years after Russell Crowe’s Maximus gave his life, upending the leadership of the decadent and corrupt society. The central character portrayed by Paul Mescal is Lucius, last seen as the young son of Lucilla, Connie Nielsen’s noblewoman from the original movie.

Lily Seabird is a perceptive songwriter who can channel moments when everything feels raw and overwhelming into something healing and galvanizing. With Alas, the Burlington, VT-based artist's sophomore album, she confronts grief with palpable clarity on tracks that careen from delicate folk to blistering indie rock. While it's her second LP, it serves as a proper introduction to an undeniable and idiosyncratic voice. "Alas, sounds way more like me," she says. "This is the album I wanted to make in the first place." Though Seabird is now known as a solo artist and collaborator in Burlington's vibrant music community as the bassist for Greg Freeman and other acts, her journey started in Pennsylvania when she picked up the saxophone as a kid. At 14, she learned guitar and started performing as Lily Seabird. After a brief stint in New York City playing in bands, she moved to Vermont, which has been her home since 2018. "When I came to Vermont, I was playing solo a lot but then I started a band with Greg Freeman," she says. "Since 2018, it's been me and Greg and a bunch of different casts of characters have been in the band since then it's an ever-evolving thing. It's just us playing my songs."The songs on Alas, came from a particularly unmoored period for Seabird. "I wrote this album in 2021 and 2022 on the road, trying to figure out who I am," she says. "A lot of them also deal with the time when my close friend passed away. The title Alas, meant a lot to her." Even if the songs don't always directly tackle this specific loss, there's a sense of mourning in how relationships change and dissolve. Take "Grace," a reflection on female friendship, which features the lines, "I hope she's happy now she should be 25 / She taught me something that I thought I'd always hide." Elsewhere, the knotty and unpredictable "Dirge" finds her singing, "I don't know if I believe in god / I don't know if I know how to go on." Seabird and Benny Yurco produced Alas, which was recorded at Burlington's Little Jamaica Studios with Freeman and drummer Zack James (Benny Yurco). It's a quietly expansive album full of subdued, organic textures and moods. Songs like "Cavity" are lush and inviting with silky guitar and Seabird's expressive saxophone playing. The 10 songs on Alas, stretch out and leave space for introspection and deep listening with some tracks taking nearly seven minutes to mesmerizingly unfold. It's a remarkably assured and vital statement from one of the most promising new songwriters alongside peers Merce Lemon, Squirrel Flower, and Allegra Krieger."The album is about loss, coming of age, and sadness but there are also all these moments where happiness takes over," says Seabird. "It can be two things at once: life isn't just pain and sadness, there's also joy. They can all exist at the same time. Alas, is an expression of grief but it's also for letting go."

With a little bit of old and a little bit of new, Chicago's enigmatic Rudy De Anda is back with two tracks out on a super-limited 45. The A-side, 'Take Me For A Little While' is a cover of the Royal Jester's version of the track, taken from the Numero Group catalog. It's an up-tempo, irresistible tune in both Spanish and English. The B-side, '83,' is a brand new Rudy original recorded in his current home of Chicago. It's a collaborative effort that came naturally from building on grooves and jamming with his band. It's a taste of what's on the horizon for Rudy, something fresh, moody, and intriguing. It's an ode to 70s funk, with just the right amount of groove and low-fi charm. The two tracks compliment each other and make for a well rounded 45, while demonstrating the breadth of Rudy's sound.

On this new LP Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical" and "factory like."

Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures.

"Mechanization" is just one of the many sonic directions Bertoia took while composing and recording between the late 1950's and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn.

Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone – a point he made himself many times in interviews.

Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a greater logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Music from Skalpel's iconic debut for Ninja Tune, reinterpreted by top Polish producers! 

Poland's ambassadors of jazz-inspired electronics invited outstanding local producers of downtempo, dance music, hip-hop, and jazz to remix this album. The result is "Recut," the best remix album in the history of Polish phonography. A record every bit as worthy as the historic original. It’s an extraordinary tale of the past and present of Polish electronic music.


This year marks the 20th anniversary of the release of Skalpel’s debut album, which was released by the famous British label Ninja Tune in 2004. The Polish duo, Marcin Cichy and Igor Pudło, gained international acclaim by venturing into the then lesser-known territory of Eastern European jazz, updating it with electronic tools.
Pitchfork praised the album enthusiastically: „On these tracks, Skalpel smudge the line between organic and electronic effortlessly, like a landscape artist working with charcoal, creating deep nuances of light and shadow that give the work its overall depth. (…)Its rhythmic dexterity and melodic sweep are hard to deny” -
The prestigious The Wire added: "Jazz, breaks, scat shuffles and funky riffs? of the highest standard. This release deserves to see them revered far beyond Poland"

Today, looking back over two decades, this album can be confidently considered a milestone in Polish electronica and a timeless classic of downtempo, nu-jazz, and trip-hop. Thanks to this record, the band also gained worldwide recognition, and their subsequent consistently high-quality albums like "Highlight" and "Origins" continue to attract significant interest.
Skalpel’s debut with Ninja Tune undoubtedly changed the face of Polish music, redefined the perception of the Polish jazz canon, and paved the way for younger creators. "Many of them, on 'Recut,' pay tribute to the enduring legacy of Marcin Cichy and Igor Pudło.
Artists like Magiera, Emade, 1988, Kixnare, Steez, Latarnik, Envee, Pejzaż, Etnobotanika, and others are now recognized names and respected figures in the Polish music scene. Though each of the artists invited by the Wrocław duo has developed their own original style, they find common roots in the duo’s music, on the border between jazz groove, hip-hop ease, downtempo moodiness, or ambient.
The excellent interpretations showcase the incredible potential revealed by Skalpel’s debut material, which continues to inspire new discoveries. This is a record that does not age, still captivates, and continues to inspire and provoke new interpretations.


Let’s RECUT this!!

This re-issue faithfully replicates the original 1971 Island Records UK release in gatefold sleeve and is pressed onto high quality 180g vinyl. Released in June 1971, Angel Delight was the first of two albums of Fairport Convention as a four-piece, after the departure of founder member Richard Thompson that January. The band were living in a converted pub, The Angel, in Hertfordshire where they worked up the material for the album, another blend of the traditional and the original. The title track a pun on the time they were having at the pub, and a nod to the popular British dessert of the same name was a jolly catalogue of their life at the moment, referring to producer John Wood as 'John The Wood' and drummer Dave Mattacks as 'Dave The Drum.' It also mentions the day a lorry crashed into the pub, which, had Dave Swarbrick been in his room at the time could well have killed him. The album Fairport's only Top 10 album in the UK chart is also known for its traditional medley of jigs and reels, The Cuckoo's Nest, the beautiful ballad Wizard Of The Worldly Game and the group's version of the salty English song The Bonny Black Hare

Ramkot is a wrecking ball from Ghent, Belgium, playing powerful yet danceable rock music. After two EP’s and building a reputation as one of the most exciting live bands around, the spring of 2023 sees the release of debut album In Between Borderlines, a razor-sharp 25-minute uppercut aiming for both head and hips. They tour extensively, playing a hefty 100 shows in just one year: from steamy venues and sun-drenched festival stages (Pinkpop, Down The Rabbit Hole) to even opening for Metallica in Amsterdam. For their sophomore album, instead of producing it themselves again, Ramkot enlist producer Alain Johannes (QOTSA, Eagles of Death Metal, Them Crooked Vultures), who invites them to the Joshua Tree desert. For three weeks, Ramkot reside in the legendary Rancho De La Luna studio, famous for QOTSA frontman Josh Homme’s The Desert Sessions. ‘We pulled out all the stops, not pushing our foot down on the accelerator all the time, which allows the music to breathe more. There’ll be a couple of softer songs the fans will not be expecting from us.’ But rest assured, every single note still sounds very much like Ramkot. The band will only play a handful of shows this year, including 2000 Trees (UK), Sziget (H), Pukkelpop and Lowlands.

"When you wish upon a star… that turns out to be Saturn.

Previously unheard Ra culled from the archives and compiled based on their association to that children's film corporation with the cartoon rodent.

Jazz aficionados and Disney nerds alike will marvel at how seamlessly Sun Ra and his Arkestra put their own unique twist on both well-known and overlooked Disney songs. Pink Elephants on Parade takes nine songs from Disney’s storied catalog and recontextualizes them as beautiful, fun, and sometimes terrifying pieces of Afrofuturist jazz. The collection also shows further proof of how Ra was always willing to transcend conventions of jazz. Listen to the full album and you will likely never look at the Disney music catalog the same way ever again.

Originally known for accompanying Dumbo and Timothy’s colorful alcohol-induced hallucinations, this song is given a whole new life by Ra and the Arkestra in more ways than one. It also feels faithful to the original at the same time, with the cacophony of horns, drums, percussion, and cowbell resembling that of a marching band. However, the demented grandeur of the song is turned up to eleven with zany vocal lines (hence the high-pitched “What’ll I do” inflections) and other performances that somehow sound more evil and gruff here than they did on Oliver Wallace and Ned Washington’s version. Though the Sportsmen’s vocals from that particular arrangement had a certain creepiness to it, the Arkestra takes a previously innocent sounding song and makes Pink Elephants On Parade sound even more terrifying."

“Are you ready to come into my world?” Dorothea Paas asks on Autumn Roses, the lead single from her latest album, Think of Mist, out this fall on Telephone Explosion Records. It’s an invitation extended with equal parts sincerity and slyness, delivered over a casually propulsive groove and layers of transcendent harmony. The only option is surrender.

Think of Mist is Paas’s sophomore album, following 2021’s Polaris-longlisted Anything Can’t Happen - “one of the most stirring and emotionally resonant break-up albums of recent years” (Uncut). Widely praised for its emotional resonance and lush sonic landscape, Anything showcased the talent that has made Paas a fixture of Toronto’s music scene for over a decade - both as the leader of her own band, and as a vocalist and guitarist for a constellation of groups including U.S. Girls, Jennifer Castle and Shabason & Krgovich.

For listeners of: Jessica Pratt, Fievel is Glaque, Cassandra Jenkins, Cindy Lee, The Roches, Labbi Siffre, Linda Perhacs, Stereolab, Dear Nora, Connie Converse, Julie Byrne.

“Are you ready to come into my world?” Dorothea Paas asks on Autumn Roses, the lead single from her latest album, Think of Mist, out this fall on Telephone Explosion Records. It’s an invitation extended with equal parts sincerity and slyness, delivered over a casually propulsive groove and layers of transcendent harmony. The only option is surrender.

Think of Mist is Paas’s sophomore album, following 2021’s Polaris-longlisted Anything Can’t Happen - “one of the most stirring and emotionally resonant break-up albums of recent years” (Uncut). Widely praised for its emotional resonance and lush sonic landscape, Anything showcased the talent that has made Paas a fixture of Toronto’s music scene for over a decade - both as the leader of her own band, and as a vocalist and guitarist for a constellation of groups including U.S. Girls, Jennifer Castle and Shabason & Krgovich.

For listeners of: Jessica Pratt, Fievel is Glaque, Cassandra Jenkins, Cindy Lee, The Roches, Labbi Siffre, Linda Perhacs, Stereolab, Dear Nora, Connie Converse, Julie Byrne.

"7"" single for the djs of the initial digital 45 of Peixeira Amolada e Quebra Queixo b/w Mariposa Tigre.

Peixeira Amolada e Quebra Queixo It represents two popular stereotypes common in the third world: the sharp cutting knife and the quebra-queixo, the coconut candy brought from Angola by enslaved blacks. But, playfully, it is also the expression of direct speech and a sharp blow, also as a duo of anti-heroes in search of justice, equality and fraternity. This song also features an element never used before in the band: the guitar. One of the most popular instruments in the world, it provides the basis for the song, which goes through a groove full of counter-melodies that bring that feeling of a cut (hence the name of the song), in non-obvious conventions, and a surprising ending in another time signature. As well as the musical reference for the name, this track represents the struggle that many Brazilians go through every day to have a decent life. You have to have a ""sharpened knife"" to open the way.

Quebra Queixo Represents the playful and magical beings of the forest. How can a moth be a tiger? This song carries a lot of the sound Nomade has built up over the course of their career. Strong funk influences, ethno groove, with unconventional brass themes and a very jazzy accent. Halfway through the song, another of the band's very strong references comes to the fore: reggae, more precisely ragga, which makes the song even more danceable. Finally, a convention from the whole band brings the song to a grand end, making you want to listen to it again."

I want nothing more than to be a loner,” Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It’s a startling admission coming from a songwriter who, just a year ago on Dehd’s critically acclaimed Water, wrote eloquently about the joys and pains — more than anything, the necessity — of love, compassion, and companionship. But then, “admission” isn’t really the right word here, given the stridency of Kempf’s tone. “Loner” is a declaration.

The record ups the ante on Dehd’s sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf’s songwriting, even as it captures them at their most strident. Balla’s guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping “ooh!,” pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady’s one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache.

NEA Jazz Master Big Chief Donald Harrison Jr. is one of finest saxophonists of his generation. His resume includes long associations with Terrance Blanchard and Art Blakey throughout the 1980s. But the foundation of Harrison's music, and it’s the soul of his music, comes from his lifelong participation in the culture of New Orleans, his home town.

Here he pays tribute to that rich culture, and accompanied by non other than the legendary Dr. John.

Both artists, the embodiment of New Orleans’ music in their own right.

The album features a mix of original compositions and jazz standards, all infused with the spirit and energy of New Orleans. Featuring the Mardi Gras Indian chants of The Guardians Of The Flame, this recording captures the magic of heritage New Orleans Mardi Gras music and wraps it all up in one package.

Originally recorded at BMG Studios in New York City, May of 1991. Remastered by Bernie Grumman.

This Is It ist die brandneue EP des schwedischen Grunge-Pop-Acts ShitKid, welche im Januar 2018 über PNKSLM Recordings nur auf Vinyl und digital erscheinen wird. Es handelt sich dabei um das Projekt der 23-jährigen Musikerin Åsa Söderqvist, die mit dieser EP das Follow-Up zu ShitKids gefeiertem Debüt-Album Fish veröffentlicht. Die Kritiken von Ex NPR, iD, The FADER, Noisey, DORK, The Line of Best Fit und vielen anderen Stimmungsmachern fielen recht positiv aus, wobei Åsa eine deutliche Weiterentwicklung beim Songwriting bescheinigt wurde. Aufgenommen, geschrieben und eingespielt wurde This Is It von Åsa Söderqvist und gemischt von Luke Reilly.

"The Affectionate Punch is the debut studio album by the Scottish post-punk and new wave band the Associates. The album was released on 1 August 1980. From the album ""The Affectionate Punch"" and ""A"" were released as singles. Upon its release, The Affectionate Punch was declared ""a kind of masterpiece"" by Paul Morley of the NME, who described it as ""a passionate cabaret soul music, a fulfilment of the European white dance music Bowie was flirting with back then."" None other than Robert Smith (the Cure) can be heard doing backing vocals on ""The Affectionate Punch"" and ""Even Dogs in the Wild"". Nigel Glockler (Saxon) is the drummer on this album. The Affectionate Punch is available as a limited edition of 1000 individually numbered copies on turquoise coloured vinyl and includes an insert."

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More
showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats.

Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble
performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall.

Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.

Eclectic Beats Music release number 7 is Fradinho’s “Tropicafrica EP”, inspired by Ghana’s Highlife music.
On the A-side, Fradinho delivers two original Broken Beat tracks: “Tropicafrica”, which also names the EP, is a journey into a slower syncopated Highlife guitar track, with a lovely progressive harmony and guitar picks. “Highlife” has a more upbeat atmosphere, still with the Highlife guitars on a happy vibe and a faster beat structure.
On the B-side, there’s 2 distinct quality remixes:
Sun 793 delivers a journey into a darker, futuristic, yet contemplating sonic bruk experience, with lush keys contrasting with the overall deep feeling of their “Tropicafrica” remix.
Mr. Bird also remixes the track “Tropicafrica”, in a cross-genre fusion between house and broken beat, adding some vocal elements and brass, that results in this uplifting remix.

Acony Records is proud to present Woodland, the new album by the preeminent songwriting team Gillian Welch & David Rawlings. Following up their homespun GRAMMY-winning release All The Good Times, this ambitious 10 song album mingles full band tracks with intricate duet performances all tied together with the duo's signature sound and remarkable lyricism. Woodland was recorded in Nashville, Tennessee at Welch and Rawlings' own Woodland Sound Studio (newly rebuilt after the 2020 tornado) and cements the duo's iconoclastic position at the forefront of acoustic music

The complete, known recordings from Jimmie Dale Gilmore, Joe Ely, and Butch Hancock • Available on CD and 3-sided LP with laser etched 4th side. • Liner notes from acclaimed author and multiple-Grammy winner Colin Escott Reflecting on The Flatlanders in 1990, Jimmy Dale Gilmore said, “The band probably has a higher reputation now than it ever did. Every time Butch Hancock and Joe Ely and I go out on the road, people want to know about The Flatlanders. We always say it was more a legend than a band.” And against all odds, the legend has grown. –Colin Escott You know how it is when you can’t stop talking up a record. Someone will say, “Okay, but who do they sound like?” Or, “Let’s go see them.” Flatlanders fandom hits a wall right there. By the time the first compilation of Flatlanders' work appeared in England in 1980, they'd been apart for seven years, and another ten before their music was available in the US. Sort of… Recorded in 1972 and scheduled for release the following year, All American Music was put on hold and went unissued, save for a few copies that were released on 8-Track. It took a 1980 UK compilation to collect all of the known Flatlanders material, with a now out-of-print German collection unearthing one more. Now, Omnivore Recordings brings all known Flatlanders tracks back to CD and on a three sided LP with the musical saw etched on side four. (Did we mention the musical saw yet?...). All American Music features 18 tracks, newly remastered by multiple Grammy-winner Michael Graves, with packaging featuring liner notes from author and Grammy-winner Colin Escott, helmed by Grammy-winner Cheryl Pawelski. As Escott says in his notes – "More than a half-century later, The Flatlander's' original music still sounds fresh. It was truly a sound like no other. It's a stretch to call an artist 'prophetic' if no one heard them, but in some ways The Flatlanders foretold the grab-all that became Americana Music."

180 Gram Vinyl The album `A Jolly Christmas from Frank Sinatra' was released in 1957 and features the Ralph Brewster Singers along with an orchestra conducted by Gordon Jenkins. It's devided in two parts with side one featuring secular holiday tunes, while side two has more religious Christmas carols. Sinatra is regarded as one of the most popular entertainers of the mid-20th century. He is among the world's best-selling music artists, with an estimated 150 million record sales globally. Over the course of his career Sinatra received eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award, and the Grammy Lifetime Achievement Award. He was included in Time magazine's compilation of the 20th century's 100 most influential people. American music critic Robert Christgau called him "the greatest singer of the 20th century" and he continues to be regarded as an iconic figure.

180 Gram, gold marble Vinyl The album `A Jolly Christmas from Frank Sinatra' was released in 1957 and features the Ralph Brewster Singers along with an orchestra conducted by Gordon Jenkins. It's devided in two parts with side one featuring secular holiday tunes, while side two has more religious Christmas carols. Sinatra is regarded as one of the most popular entertainers of the mid-20th century. He is among the world's best-selling music artists, with an estimated 150 million record sales globally. Over the course of his career Sinatra received eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award, and the Grammy Lifetime Achievement Award. He was included in Time magazine's compilation of the 20th century's 100 most influential people. American music critic Robert Christgau called him "the greatest singer of the 20th century" and he continues to be regarded as an iconic figure.

The Iconic 80s Band, Berlin, Return with Strings Attached to Take Your Breath Away

Nearly 40 years after their founding, the Los Angeles-based synth pop group, Berlin, return with an album of their classic tracks_with strings attached. Working with a full philharmonic orchestra, Strings Attached sees the band revisit some of their classic tracks, from their formation in the early 1980s through to today, including, of course, the iconic theme to the movie, Top Gun, Take My Breath Away. Featuring the classic line-up of Terri Nunn, John Crawford and David Diamond, Strings Attached is perfect for both existing fans of one of the most legendary bands of the 80s and those who are being introduced for the first time.
Founded by bassist John Crawford, singer Terri Nunn, and keyboard player David Diamond, Berlin made its first national impression with the provocative single Sex (I'm A...) from the gold-selling debut EP, Pleasure Victim in 1982. The group was filled out by guitarist Rick Olsen, keyboard player Matt Reid, and drummer Rob Brill. Berlin's first full-length LP was the gold Love Life in 1984. In 1985, the group was pared down to a trio of Crawford, Nunn, and Brill. Berlin topped the charts around the world in 1986 with the single Take My Breath Away, the love theme from the Tom Cruise movie Top Gun, a track which won an Academy Award, a Golden Globe and which has cemented itself as one of the most memorable songs featured in a film of all time.

London based songwriter Louis Gardner offers his first mixtape, released via Goldsmiths University imprint NX Records. On For The Open Room, Gardner spirals artfully through outsider jazz, pop, folk and noise, landing sprawled in a territory all his own.

Tangled riffs and strange structures form the terrain for intimate, un-rugged vocals to float above. Starting life like brisk journal entries or misshapen doodles in digital fuzz, Gardner's stories bloom with stop-start tension, oscillating between tender and guttural, crude and complex.

For the open room captures a flow state of ideas, traces and associations - from the bubbling jazz congruence of "It's Hard", to plucked maximalist fragility on "Ten Zithers". Wrapping up with "Body Left in the Snow", Louis reveals mightily undulating piano chops - leaving us to wonder what else is withheld, and what might appear next.

Recommended for fans of Jandek, Mount Eerie, Arthur Russell.

The debut album on RCA, from 'Everyone You Know', is a document of a big night out; from the anticipation that drags you through the working week up to the euphoria found under nightclub lights and straight through until the bittersweet comedown the morning after. It's a heart on sleeve collection of boundary-pushing songs that burst with emotion, establishing siblings Rhys and Harvey as songwriters with a unique ability to distil the chaos and adventure of a Saturday night into a body of work built to last the test of time. With references that range from Moby to Kendrick Lamar's classic Good Kid Maad City via the '90s cult movie 'Human Traffic', 'Ain't Smiled In Ages' is an uncompromising vision of inner-city hedonism and the beating hearts of those living for the weekend. Clear LP Vinyl & x11 trk standard CD. Marketing.

David C Clements calls time a blessing and a curse. In the eight years since the release of his debut album, he has toiled through creativity's long winters and now offers up 'The Garden', an 11-track alternative folk record featuring songs written with Iain Archer and Jacknife Lee.

‘Dyp Tid’, the fifth album from Norwegian psych-rock group Electric Eye, is a contemplation of the unknown and the ineffable. Crafted in a landscape where time and space collapse, the record is Electric Eye's most ambitious and experimental project to date. Originally commissioned by Sildajazz – the Haugesund International Jazz Festival – and premiering there in 2022, ‘Dyp Tid’ (Norwegian for ‘Deep Time’) is both a meditative journey and an exploration of what it means to exist in a universe where time stretches far beyond humanity’s grasp. First performed live in Skåre Kirke, an octagonal wooden church in Haugesund, Norway that was built in 1858, these six atmospheric compositions centre church organs, synths and choral vocals over any traditional ‘rock’ instrumentation. Gradually winding through ambient minimalism, kosmische improvisations and experimental psych-jazz, ‘Dyp Tid’ isn’t just an album but a space; a mental landscape where sound and time intersect. Talking about the album, Electric Eye’s Øystein Braut says: “We have always been drawn to the cinematic, to the sense that something feels larger than life, and in Dyp Tid we wove these elements together into something both deeply personal and utterly elusive.” Setting up in Bergen´s Duper Studio, the recording space became a laboratory to further develop these new ideas and transform the ‘Dyp Tid’ piece into a fully-fledged studio album: “We delved into analogue technology, explored vintage machines, and experimented with what lay at the edge of our control. We sought the sound of time’s depths, something that felt infinite and uncontrollable. In an age where everything seems algorithmic and predictable, we aimed to create something that refused to be boxed in – something that lives and breathes by its own rules. The album intricately weaves together live recordings from the wooden church and studio sessions, often oscillating between the two in the course of a single track.”

Available for the first time on vinyl! Ringo Deathstarr's SHELTER IN SPACE. The very first Levitation Session performance featuring the Austin, TX shoegaze legends. Recorded in the heart of the global shutdown, this double LP features 70+ minutes of live music from the band's catalog. Don't miss this one time pressing and limited edition Double LP!

Joni Mitchell Gets Jazzy, Counterbalances Love and Trust with Freedom and Confusion on Court and Spark


Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP
Plays with Definitive Detail and Clarity: Pressed on MoFi SuperVinyl Strictly Limited to 5,000 Numbered Copies
Box Set Features New Liner Notes
1/4" / 15 IPS / Dolby A analogue master to DSD 256 to analogue console to lathe


Court and Spark, the most commercially successful album of Joni Mitchell's trailblazing career, arrived after a year in which she took some time to breathe and kept a low profile. The pause led to more breakthroughs for the singer-songwriter. Marking Mitchell's increasing drift toward jazz (and affinity for Miles Davis and John Coltrane), Court and Spark garnered four Grammy nominations, earned the Best Album of the Year vote in the prestigious Pazz & Jop poll, and ranks #110 on Rolling Stone’s list of the 500 Greatest Albums of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, strictly limited to 5,000 numbered copies, and featuring new liner notes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set presents the 1974 classic with definitive detail, tonality, and directness. Marking the first time the revered LP has received audiophile-quality treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD sets.

Benefitting from a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible edition reproduces without compromise the textures, details, and breathtaking craftsmanship that help make Court and Spark into what many fans believe is the Canadian native’s finest hour. Notes bloom and decay as they do amid an acoustic live environment. Soundstages extend far and deep, with black backgrounds and balanced tones adding to the uncanny realism.

The reference-grade presence and openness put in transparent view Mitchell’s incisive words and unique phrasing, as well as the contributions of her prized support musicians — including Tom Scott and the L.A. Express as well as guest turns by the likes of David Crosby, Graham Nash, Jose Feliciano, and Robbie Robertson. Mitchell, experimenting with the melodic parameters of guitar and piano, is rightly found at the center of it all. The jazz-rock rhythms of drummer John Guerin, slippery guitar lines of Larry Carlton, vibrant horns and reeds laid down by Scott — crucial to the songs’ shape-shifting arrangements — can now also be heard with fresh ears.

Visually and physically, the packaging of the Court and Spark UD1S set complements its distinguished status. Housed in a deluxe slipcase, both LPs come in foil-stamped jackets with faithful graphics that illuminate the splendor of the recording. This reissue is for listeners who desire to engage themselves in everything involved with the album, including Mitchell’s “The Mountain Loves the Sea” painting — a picture of waves embracing and receding away from a mountain, a metaphor for the record’s lyrical themes — on the cover art.

Pitching deceptively light compositions against underlying tensions, Court and Spark witnesses the singer-songwriter finding her footing with a group of top-shelf musicians who seemingly understand her visions as well as expanding her lyrical palette and venturing further into territory no artist had dared explore. Mitchell’s accessibly complex structures, beat-propelled rhythms, and spirited interplay with Scott & Co. both give the music a different identity than her prior efforts and point in the directions she soon headed.

Lyrically, Court and Spark matches the wit, integrity, originality, and intellect of anything in Mitchell’s oeuvre — no small feat. Offsetting positives with negatives, and considering circumstances from multiple angles, Mitchell explores issues connected to love and freedom, certainty and confusion, and trust and fear with unfettered boldness and introspective empathy. She teeters between surrender and retreat, and spends a majority of the record sussing out the complications and sacrifices involved with such actions.

Mitchell addresses the transactional nature of desire (the intimate title track, the upbeat “Raised on Robbery,” complete with rock ‘n’ roll pep from Robertson and zesty sax from Scott); anticipation and disappointment of romance (“Car on a Hill,” “”Down to You); fame and celebrity (“A Free Man in Paris,” “People’s Parties”); and sanity (the dark and stormy “Trouble Child,” a satirical cover of Annie Ross’ “Twisted”). Throughout, she sings with an emotionally penetrating beauty and devastating honesty that teaches about ourselves.

Or, as Mitchell relays on “People’s Parties”: “Laughing and crying/You know it’s the same release.”

Christmas is the most wonderful moments of the year, when we meet with family and friends,

and when we really want to have a nice time. Of course, music is essential to achieve this ambience. Christmas:

The Complete Songbook in vinyl format is an album ideal to liven up that special moment,

since it is an completely different album from those currently available. With an fantastic selection of artists,

ranging from Frank Sinatra and Louis Armstrong, to Belinda Carlisle, Gilbert O’Sullivan and Patti Austin,

they all delight us with fantastic versions of Christmas’ classics.

With an elaborate and eye-catching artwork and specially remastered sound for vinyl format,

this is a fundamental album for the upcoming Holiday season.

Double black vinyl LP available for the first time via Cargo. Stories Don't End is the third studio album by American folk-rock band Dawes, originally released in 2013. At Rolling Stone, David Fricke proclaimed this release to be a "quietly gripping, deceptively gleaming record." Bud Scoppa of Uncut evoked that "the sound is glossier, beefier, less wistful" on the release because the change in producers. // Stories Don't End is a game changer for Dawes and one that's more than likely going to work. Don't be surprised if you find this album propping up the shelves of your local supermarket soon as they leave behind their indie roots for world domination. By the end of the year Dawes are going to be everyone's favourite new band”. Echoes And Dust.

Krauty electrocis from FACTORY FLOOR re-promoted now! The music is taken from a project originally commissioned by London's Science Museum to live score Fritz Lang's 1927 cinematic landmark, Metropolis on its 90th anniversary. The band performed the score live at the Science Museum's IMAX in April 2017 in an event that was part of the acclaimed Robots exhibition. This new release is a studio recording of the 150 minute score, recorded in its entirety and mixed by Nik Void with the exception of the tracks `Heart of Data' and `Babel' which was mixed by award-winning producer Marta Salogni. It's something of a rite of passage for electronic artists to compose music for the classic sci-fi movie Metropolis, and with the simply named Soundtrack for a Film, Factory Floor join the ranks of Giorgio Moroder and Jeff Mills. ... While Soundtrack for a Film is subtler than Factory Floor's albums, it still bears the duos signature approach. ... Soundtrack for a Film also takes Factory Floor's skill at making expansive, evolving tracks to its logical conclusion, and the album could be heard as one two-and-a-half-hour cut. Despite its length, Gurnsey and Void never lose focus thanks to their carefully chosen motifs. ... As Factory Floor balance the organic and mechanical aspects of Metropolis and their music on Soundtrack for a Film, they achieve the best of both worlds -- a commissioned work that's just as original as their own albums. - Available as a box set comprising four 12" vinyl on the band's own imprint H/O/D Records. The artwork is by British artist Haroon Mirza adapted and arranged by Nik Void in collaboration with illustrator Sam Moore.

Ava Mendoza has never made an album quite as personal as her second solo full-length, The Circular Train. Through her decades of collaborations with Nels Cline, Carla Bozulich, William Parker, Fred Frith, Matana Roberts, and Mick Barr—plus years leading her power trio Unnatural Ways and playing in Bill Orcutt’s quartet—the guitarist’s name has become synonymous with virtuoso technique, raw passion, and visceral resonance, a player pushing the edges of the guitar’s possibilities. Along the way, from 2007 to 2023, Mendoza was writing these slow-burning, incandescent songs. The Circular Train is comprised solely of her single-tracked guitar playing and, on two songs, her corporeal singing. Her first solo LP of original material since relocating from California to New York City a decade ago, much of The Circular Train was honed amid pandemic years that clarified the virtues of slowing down. This expressive avant-rock is a definitive introduction to one of the most uncompromising and inquisitive visions in creative music. Mendoza’s thrilling melange of free jazz, blues, noise, classical training, and blazing experimental rock’n’roll all coheres with ecstatic feedback, with picking and solos that crest with shimmer. Sometimes she sounds like a one-woman Sonic Youth with guttural and poised vocals that equally evoke Patti Smith and blues greats like Jessie Mae Hemphill. Conceptually, The Circular Train is presented as a psychogeographical train ride through certain of Mendoza’s musical homelands. The songs draw on ancestral and recent familial memories, notably of her parents’ roots in mining towns—in her father’s home country of Bolivia and mother’s hometown of Butte, Montana, each country with its own history of colonialism, racism, forced labor, the eradication of culture and the subsequent excavation of it. These adventurous songs were composed in cars and planes, in the heart of the Mississippi Delta, in Los Angeles and upstate New York—which is to say in motion. “Ride to Cerro Rico,” named for the mountain and silver mine at the center of Potosi, Bolivia, was inspired by Mendoza’s great grandmother’s life there in a Quechua mining family. “Dust From the Mines” drew from that history as well as Mendoza’s familial lineage of miners in Montana, building up to stunning swaths of shredded iridescence. “Pink River Dolphins” was inspired by a visit to the Amazon rainforest, swimming with dolphins alongside her father—the pink bufeos that inhabit both Bolivia and Columbia—and the song is dedicated to the memory of Mendoza’s late friend, the Colombian-American trumpeter jaimie branch. They shared a fascination with those intelligent and agile creatures who often communicate by echolocation. “Make a sound, it comes back around,” Mendoza sings, and later, “Echo, echo/The answer in a sound,” evoking what branch knew well: through music we navigate life. The Circular Train contains one cover, “Irene, Goodnight,” composed by Gussie Lord Davis and popularized by Leadbelly; Mendoza has been performing it for over 20 years. Almost as deeply embedded in her repertoire is the penultimate track, “The Shadow Song.” “Treat your shadow kind and it might treat you good,” Mendoza sings on this song that she’s been reworking for over a decade, an emblem of devotion. “Treat your shadow kind and it might treat you right,” she repeats, becoming a blues mantra. What is a shadow self if not one’s secret world, which, once laid bare, awaits an echo, a return?

Los Angeles-based ska-punk band The Interrupters" second album. Say It Out Loud is undeniably fun and urgent in message. And backing their modernized 2-Tone-tinged, guitar-fueled, melody-heavy sound are lyrics that confront everything from social control and self-empowerment to domestic violence and the media circus surrounding the next presidential election. Produced by Armstrong and recorded partly at his studio (as well as at Travis Barker"s Opra Studios), Say It Out Loud are a batch of feel-good songs proving The Interrupters" unstoppably upbeat spirit.

12” paddling pool blue vinyl, is an edition of 500. CD Digifile. Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die… The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain. Their previous 2 albums Not With That Attitude (2018) & Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems. Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.” There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.” “That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably an-other album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.” Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album. “I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.” For Lily, writing for the album also aligned with the 10th anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.” Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans

The complete, known recordings from Jimmie Dale Gilmore, Joe Ely, and Butch Hancock • Available on CD and 3-sided LP with laser etched 4th side. • Liner notes from acclaimed author and multiple-Grammy winner Colin Escott Reflecting on The Flatlanders in 1990, Jimmy Dale Gilmore said, “The band probably has a higher reputation now than it ever did. Every time Butch Hancock and Joe Ely and I go out on the road, people want to know about The Flatlanders. We always say it was more a legend than a band.” And against all odds, the legend has grown. –Colin Escott You know how it is when you can’t stop talking up a record. Someone will say, “Okay, but who do they sound like?” Or, “Let’s go see them.” Flatlanders fandom hits a wall right there. By the time the first compilation of Flatlanders' work appeared in England in 1980, they'd been apart for seven years, and another ten before their music was available in the US. Sort of… Recorded in 1972 and scheduled for release the following year, All American Music was put on hold and went unissued, save for a few copies that were released on 8-Track. It took a 1980 UK compilation to collect all of the known Flatlanders material, with a now out-of-print German collection unearthing one more. Now, Omnivore Recordings brings all known Flatlanders tracks back to CD and on a three sided LP with the musical saw etched on side four. (Did we mention the musical saw yet?...). All American Music features 18 tracks, newly remastered by multiple Grammy-winner Michael Graves, with packaging featuring liner notes from author and Grammy-winner Colin Escott, helmed by Grammy-winner Cheryl Pawelski. As Escott says in his notes – "More than a half-century later, The Flatlander's' original music still sounds fresh. It was truly a sound like no other. It's a stretch to call an artist 'prophetic' if no one heard them, but in some ways The Flatlanders foretold the grab-all that became Americana Music."

Acony Records is proud to present Woodland, the new album by the preeminent songwriting team Gillian Welch & David Rawlings. Following up their homespun GRAMMY-winning release All The Good Times, this ambitious 10 song album mingles full band tracks with intricate duet performances all tied together with the duo's signature sound and remarkable lyricism. Woodland was recorded in Nashville, Tennessee at Welch and Rawlings' own Woodland Sound Studio (newly rebuilt after the 2020 tornado) and cements the duo's iconoclastic position at the forefront of acoustic music

Disrupt Records makes its return to the Jungle world with the first of several releases planned for 2023. Kicking off the new year is a killer 4 track EP from Lithuania's hardware don: IJO!

IJO AKA 300 degrees is a veteran producer who's musical output has spanned broadly across the electronic spectrum over the last 30 years. In recent times he has concentrated on the sounds that he says changed his life in the mid 90's: Hardcore Jungle - made the old school way using analogue hardware equipment!

With releases on Amenology and Straight Up Breakbeat he has already began to make waves in the scene. This EP is created using his trusty Akai S1000 sampler and cements his status as one of the producers to watch in 2023, bringing you two tracks of lo fi modern Jungle filled with chopped up breakbeats, effects manipulation, haunting melodies and atmospheric vocal samples.

This release is in true Disrupt style backed with remixes from two certified OG's and absolute legends of the modern Jungle movement.

First up is one of Jungle's pioneers - Equinox! His label Scientific Wax has become the benchmark for hard edge drum work and beat manipulation. Equinox brings us a remix that might surprise a few in its subtlety, starting of on a mellow tip it grows into a monster, full of the intricate drum edits and breakbeat destruction we expect, a beautiful melody and hard hitting beats.

On the flipside we have the Lo Fi don and Green Bay Wax head honcho - Kid Lib! Bringing the fire with an absolute banger featuring dancefloor destroying amens juxtaposed with lush pads, perfectly crafted breakdowns and killer drops.

‘Leon’ is the highly anticipated fourth album from Grammy Award-winning recording artist, songwriter, and producer Leon Bridges. With 13 tracks featuring Leon’s signature storytelling and a unique blend of organic genre alchemy, ‘Leon’ is his most poignant, powerful, and personal work to date. He takes fans on a trip through the heart of Ft. Worth he knows best, the things he holds dear, and the people and places that shaped him. Featuring production by Ian Fitchuk (Beyonce, Noah Kahan), Daniel Tashian (Kacey Musgraves), and Tyler Johnson (Harry Styles, Miley Cyrus), Leon describes the album as “somewhat of a self-portrait… I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”



Quote from Leon:
“‘Leon’ has been a long-time coming. I started writing pieces of it as far back as ‘Gold-Diggers Sound.’ They didn’t fit what I was trying to do with that album and I tried moving on. But I couldn’t shake them because they’re part of me. And, if I’m honest, also because I think this is some of my most excellent work yet.In many ways, Leon has been in the works since my childhood. This record is about simpler days. It’s about time spent in my beloved Fort Worth and the experiences that made me the man I am today. It’s soulful music in the truest sense - it’s imbued with my soul.I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”

Vick Lavender is back with another quality vinyl release on his Sophisticado label. First up is the title track "Afro Go", an Afro jazz influenced piece that's sure to inspire dancers & deep house music lovers world wide. Next up is "Ambrosia", an atmospheric yet deep house cut. The B side features a previously release collaboration with house music icon Robert Owens: "Tonight". Bringing this EP to a close is the slow burner "Acis outpost", with iconic Chicago acid house overtones, but then Vick & company (Justin Dillard) turns the acid concept on it's head and it becomes their vision totally

The World is On Fire is Collier’s observation journal reflecting on the tumultuous period from before the pandemic to the present day. The title itself wields his lens on vile acts committed by those in power addressing themes of economic upheaval, systemic racism, and the relentless fight for justice. The album is the final body of work with his quartet, The Chosen Few, marking the closing chapter of the group’s 8-year journey. The World is On Fire is Collier’s observation journal reflecting on the tumultuous period from before the pandemic to the present day. The title itself wields his lens on vile acts committed by those in power addressing themes of economic upheaval, systemic racism, and the relentless fight for justice. The potency of Collier’s compositions is reinforced by utilizing harrowing real-life news clips throughout the album that radiate the urgency, somberness, and turmoil during this time in history as the album as a whole serves as a requiem for countless lives lost and injustices that remain unacknowledged. The World Is On Fire showcases Collier’s fiery approach as a bandleader with tightly focused solos on both Alto and Tenor Saxophone, that are interwoven with the other musicians. As The Chosen Few prepare for their curtain call, The World is On Fire is a final offering that is more than a collection of songs—it’s a passionate plea for awareness, understanding, and change. Through the journey of sound and reflection, Collier urges us all to play a role in crafting a more just and equitable world.

Truth Manifest Records is proud and excited to release Beyond Jazz Volume 2, the second volume in this wonderful, futuristic four-part series!

This stellar vinyl release on Truth Manifest Records is from executive producer Malik Alston, with distribution from Mother Tongue. As we travel to the edge of our senses with Beyond Jazz Volume 2, it is immersed in poetry pulling on the heartstrings of urban reality. This is where live meets a hip-hop foundation, sped up and transformed into a dance jazz Afro-Cuban up-tempo banger, to tell the story of the groove. Put Volume 2 to a funky jazz lick phrase, reminding us that through the struggle, there is victory. Let your spirit shine as you feel the essence of boom bap jazz.

This powerful collection has special new remixes and edits based on Malik’s current radio show, Beyond Jazz

Recital presents a newly unearthed recording of an interview between Sun Ra and composer Charlie Morrow recorded at his New York studio in 1989. This voice-only recording develops more like a kaleidoscopic sermon than any standard interview.

Charlie Morrow recalls:
My 1989 Summer Solstice Celebration featured Sun Ra and his Arkestra. On March 29, 1989, ahead of this historical performance, Sun Ra came to New York to plan the performance and do an interview with me in the Charles Morrow Associates studio. There were members of the Sun Ra Arkestra, some of my team, and a photographer present. Once in the sound studio, Sun Ra wanted to record the discussion. What he says is so much more than anyone expected. I pushed record on the tape recorder, which quietly took it all in.

What Sun Ra recorded is a breathtaking expression of his feelings and strong convictions, illustrated with personal memories and stories. My few questions to him about the upcoming Solstice and about the sun and his thoughts about a dawn event triggered his mind. He launched into a nonstop journey of ricocheting stories and concepts, climaxing when I started jamming with Sun Ra on conch horn. Our duo drives to a climactic peak with explosive conch breath sounds giving line-by-line affirmations to Sun Ra’s points.

The 1989 Summer Solstice event brought together Sun Ra and his constellation of musicians and fans with my large-scale gatherings and work with the New Wilderness Foundation. Here in 2023 and beyond, the events live again. Sean McCann of Recital was drawn to Sun Ra’s words, which inspired the production of this edition. Sun Ra’s words seem to have an even greater resonance in present time. Ra is calling out the turbulence of the bad actions of the righteous and the good actions that an evil man, as he dubs himself, can perform, all the time believing that music has the possibility to bring all humans to a better place.

Charlie Morrow, 2023 / Helsinki, Finland

One-time pressing of 425 copies, includes 12-page booklet with rare photos and full transcription of interview, 24”x18” poster of Sun Ra 1989 Solstice performance photograph

The DMV crew bring you two Biggies on limited 7” vinyl record. “Juicy Groove” kicks
of the Double A single with a funky, brass-tinged rework of a Juicy NYC classic. On
the flip side a Caribbean flavoured mash up will have you Hypnotized

2 original tunes remastered from the Fucking Hostile ISR17 and 4 remixes to update the sound !
Are you ready for this ?

Big up ! Kicking hardcore, very different from what Martel En Tête did before : straight and efficient. Looks like it's Party time !! ENJOY !

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

You Never End is the third album from Valentina Magaletti, Tom Halstead and Joe Andrews (Moin) out via AD 93 on the 25th October. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.

The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.

Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.

Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine.

You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin’s intricate world.

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on heavy black vinyl, with extensive notes and lyrics.

180 Gram, Red Vinyl `Christmas With Ol' Blue Eyes' is an extension of Sinatra's most beloved holiday album `A Jolly Christmas from Frank Sinatra'. It includes the bonus tracks `Christmas Dreaming', `Let It Snow, Let It Snow, Let It Snow' and `Santa Claus Is Coming To Town'. His deep blue eyes earned him the popular nickname "Ol' Blue Eyes" which gave the record its title. Sinatra is regarded as one of the most popular entertainers of the mid-20th century. He is among the world's best-selling music artists, with an estimated 150 million record sales globally. Over the course of his career Sinatra received eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award, and the Grammy Lifetime Achievement Award. He was included in Time magazine's compilation of the 20th century's 100 most influential people. American music critic Robert Christgau called him "the greatest singer of the 20th century" and he continues to be regarded as an iconic figure.

Set for release at the height of the season it’s dedicated to, ‘Music For Autumn Lovers’ by Adam Scrimshire is an eight track album of lush, mostly acoustic based, minimal instrumentals eliciting a mixture of feelings for this special time of year.

Four tracks originally released on an EP in 2022 are joined by new compositions ‘Hawthorn’, ‘Hazel’, ‘Willow’ and ‘Blackthorn’. Gently finger-picked acoustic guitars cosy up alongside pianos, synthesisers, strings and horns; filtered through an autumnal hue of susurrous production and effects. In turns comforting, melancholic and evolutionary; it feels like an album that can be kept being made and remade forever, like a season in itself.

Both a relentless creator and inspiring champion of new music; South London based Scrimshire has been recording, producing and DJing since the mid 2000s. Amongst his credits, he was featured by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). His bold 2023 album ‘Paroxysm’ was a response to the absurdity of the breakdown in the UK government, picking up an Album of the Week award on Huey Morgan’s BBC 6 Music show, and 2021’s beautiful ‘Nothing Feels Like Everything’ received an Album of the Year nomination at the Gilles Peterson Worldwide Awards. Scrimshire also somehow finds the time to support a wealth of talent on his label Albert’s Favourites, formed with Dave Koor and Jonny Drop, where they have recently released albums by And Is Phi, Huw Marc Bennet, Inês Loubet, Irini Arabatzi, Jonny Drop & Andrew Ashong, and Qwalia.

Radio Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music) Guy Garvey (BBC Radio 6 Music)

Wajeed's brilliant Dirt Tech Reck brings some Latin flair to this new 12" from Michele Manzo. 'NiNos Del Mar' is bright and sunny and hella lively from the off with opener 'Liquida' layering up warm, soulful chords and percussive drums with an exotic vocal loop. It's a great mix of organic and synthetic sounds and it radiates warmth and energy for any dance floor. 'Quasi' is a house shuffler with more minimal drums but still a sun-kissed sound thanks to the steamy vocals and tropical percussion which flutters over the relentless groove. Summer may be nearly over, but this one keeps the vibes well and truly alive.

The wait is over! Delgado, the ten-track collaboration album by Flee Lord & Roc Marciano is now available on vinyl with bonus tracks from the delxue digital version! Originally released in August of 2021, Delgado was produced entirely by Roc Marciano, with the veteran artist / producer providing a blend of versatile beats for the Lord Mobb General to spit his patented street raps over. With features from long time collaborators such as Conway the Machine, Ransom, Stove God Cooks and DJ Boogieman, Delgado received both commercial and critical acclaim and now this fan favorite is available on wax! HotNewHipHop had this to say about the album: “On this one, Flee is in absolute beast mode, bodying each instrumental that Marci serves up with fire and fury. At this point, it’s going to be hard to deny Flee a spot at the best current lyricist table, especially after he delivers inspired performances on ‘This What Ya Want?’ and the minimalist ‘First Kill’.”

Detroit house maverick and FXHE boss man Omar S is back with a new EP named seemingly in honour of himself. And why not? Few house producers can touch him even 20-plus years into his career. The title cut 'O Maarr' is dry, paired back but immediately catchy with a loved-up vocal loop and knackered kicks that bump along nicely. The second track 'Glass' is for lovers of lo-fi sounds of the sort that this man has made his signature. Searching synths circle the dusty analogue drums and coarse claps add some raw texture. 'Bug Off' is another archetypal Omar S cut - pensive chords that are whimsical and inwardly reflective over chunky beats and bass with brighter chords bursting out of the mix to bring a hint of optimism.

Erste Vinylauflage der 2022er EP der Alternative-Rock-Band Chase Petra aus Long Beach, Follow-Up ihres Debütalbums "Liminal" aus 2019. Sechs Tracks, die zwischen spritzigem Garage-Pop, donnerndem Emo-Punk und akustischem Alternative-Rock hin- und herspringen, vorgetragen mit einer melodischen Ohrwurm-Note. Blue Marbled Vinyl.

Red Laser continue their prolific purple patch, unpacking four more slabs of red lit Manctolo from a host of box jammers, old and new.

Frank Butters wastes no time at all, 'The Call Of The Wild' engaging photon tubes with a highly kinetic array of crystalline synth shards, thunderous bass and hyperactive sfx. Without geeking out too much, special mention has to go out to the synthesis on display here - Butters advancing up the levels of sonic shamanism as he conjures up never-before-heard patches of interstellar cosmic NRG...

Bob Swans' 'Bodyform4U' unites the robots with a universal message of togetherness. Its multiple layers of shuddering arpeggios and star-aligned synths working in unison to quell any fears and send us off into a space age utopia. One that'll work as well soundtracking the end of the session as it will as the dancefloor's filling up; its subtle anthemic qualities sure to rouse the spirits of even the most dehumanized cyborgs.

New signing Lone Saxon drops 'Hypersleep' which utilises rich piano chords and a hefty breakbeat, switching up the vibe but keeping things super uplifting. This one reminds us of that innocent period when you could get on the megabus for 50p and score three for a tenner on the dancefloor. An evocative vocal refrain adds a moment of thoughtful introspection in between the e-rushes and arm-raising for another moment of interactive harmony.

Finally, 'Webo' sees Franz Scala (with a little help from Il Bosco) return to source, delivering a bona fide slice of maximum balls out MANCTALO chug. With tension-wrought chord progressions, delicious layers of lead melodies and a soaring vocal, there's few that can resist the charms of this late night electro-disco hyper anthem.

All aboard the starship !

RL x

2024 Repress

Eddie C's ever reliable Red Motorbike is on the move again

Another 12" edition this time around as FAKE GLASSES & NOODLEMAN take a side each of Caribbean sunshine to warm us all up

'Dancehall' succinctly describes what's on offer on the A Side, a seriously heavy dubwise number for the swayers and one-foot skankers in the dance

On the flip Noodleman follows his acid tinged killer from the last 12" with another 303 laced gem
'Acid Ting' is pure roots vibes with a bubbling acid line riding the groove

Rev 'em up - next stop Kingston town
Pressed in Hamburg.
Stamped personally by Eddie in Berlin. 300 copies only

When the quartet of Luke Martin, Gabriel Salomon, Klaus Janek and Andy Graydon gathered to record an afternoon of sessions in Andy's studio, it was both the result of years of cultivation and an afterthought. Klaus and Andy had been long-time, and now long-distance, collaborators since their shared years in Berlin. That city was also where Andy was introduced to Gabriel at one of his solo performances by their mutual friend, the painter Paul McDevitt. Years passed, and cities. After meeting and working together in Boston, Luke and Andy both found themselves transplanted to Minneapolis. And by happenstance Gabriel arrived a few years later. A new conversation was just starting to emerge when Klaus announced his arrival, stopping by on a North American tour. Suddenly the four got a chance to listen and play together performing on a bill at a local gallery, in one configuration or another, for the first time. Packing up after that show, Klaus leaned over to ask, "isn't there a moment we could meet again, to play?"

Nothing was expected, and so anything was possible. The circumstances lent their gathering an impromptu but grounded feeling, a unique mix of chance encounter and reunion. As befits an opening encounter, the focus was as often on listening to the unfolding sonic conversation as it was on making a recording. Everyone seemed to intuit the direction despite not knowing where they were headed. The four faced each other in a loose circle surrounded by speakers and microphones pointed haphazardly, as likely to catch the dog padding around curiously as the bowing of strings or rattling of a cymbal. The permissive spirit of the day was declared early, just before rolling, when Gabriel asked if we should close the studio windows or leave them open. "You know what my answer is," replied Luke. If it's in the nature of a recording to become fixed, to be bottled up, let us at least leave open the windows to hear what might be coming next.

Building up a head of steam, Ace Vision returns on the heels of his Raising Awareness EP.

For Shaped Mind, the Italian artist is exploring new musical avenues. While his musical essence, glow and style remain, a darker dancefloor palette is employed on the release. Polyrhythmic patterns race in the sample strewn “Second Phase”, rumbling waves and warehouse echoes tempered by swirling stabs. A bouncy liquid groove ushers in “Nu să Chan”, rasping beats shrouded in smoky bass while bars bend around an assortment of textures and tones. “Katana Cut (Trance Mix)” conjures up images of dancing bodies waiting for the dawn. Melodies circle percussive layers, meandering undercurrents of acid bubbling beneath shimmering synthlines. The finale comes with “Mixage Électronique.” Steady kicks and crisp cymbals give way to juddering chords, clean keys and snare rolls countering to a close.

Celebrating dance music’s roots in Africa, global music superstars Soweto Gospel Choir and renowned Australian DJ Groove Terminator team up with Grammy-winning producer Latroit to present ‘History of House,’ a global reimagination of the iconic dance music classics that defined a generation.

Featuring exquisite multilingual vocal performances and collaborations with some of Southern Africa's most promising emerging artists, "History of House" stands as a vibrant celebration of music and culture. This album transcends boundaries, effortlessly connecting diverse cultures across generations with an authentic fusion of global beats, Afro house, Amapiano, and house music.