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The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

Being one of the most popular albums in the history of the label,

Music Brokers is happy to announce the release of Jazz And Beatles in a limited-edition double LP.
The album features 24 stellar Beatles classics reinvented in jazz form that highlight the catalog of the biggest band of all time.
Gems such as “Yesterday”, “Here Comes The Sun”, “Revolu- tion” and “She Loves You” have new life with reworked versions
by many of the biggest names in the nu-jazz move- ment including Jazzystics,
Les Crossaders, The Cooltrane Quartet, Eve St. Jones and Apollinare Rossi. With stellar artwork and remastered sound,
this is another essential addition to your jazz-lounge music collection in vinyl format.

The album’s title, New World, Lonely Ride, gestures toward its meditative orientation. The duo offers a series of reflections on the zeitgeist of our present moment, the spirit of our age: the isolation and loneliness that continues to echo in the wake of the pandemic; the fractures that mar our political discourse; the uncertainty that has stamped itself on the future of democracy. The vast geography of America and the absence of a common ground, a shared political vision, have contributed to the affective landscape of contemporary American life—of what it feels like to live in the United States today.

Using instrumental voices and textures drawn from the traditional American forms of folk, country, bluegrass and blues, and informed with a modern sense of ambience and space, the sound is both contemporary and deeply rooted. With New World, Lonely Ride, Grigoni and Pan American join countless American artists who have drawn upon this landscape—physical and affective— giving it a voice and shape, listening to its character. And in starting there, with listening, offer a response for the future.

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

Almost as soon as Σtella Chronopoulou began writing Adagio, her fifth album as Σtella, she knew the time had finally come to sing in Greek, her native tongue. It would be a first. She started the record almost by accident in 2019, during an 11-hour boat ride to the island of Anafi. Σtella had recently gone through a patch of personal turmoil and needed a break from home. On the ferry, she pulled out her cell phone as the boat clipped through the Mediterranean and began with a simple melody, steadily piecing together a rough instrumental. As psychedelic keyboards twinkled and swayed above staccato drums, the track suggested some deep exhalation, as if Σtella were letting go of long-unnecessary baggage. For a spell, she set the instrumental aside. She wasn’t ready yet, or in a rush. Σtella, after all, grew up in a slow place. During her youth in a relatively rural suburb of Athens, Greece, she and her friends played unfettered in empty streets, not worried about cars or permission, and living felt easy. But in the last decade life has steadily become busier for Σtella, now based in the heart of Athens. She has become one of modern Greece’s most popular musical exports, with three sophisticated, playful pop albums rendered with international élan. After her Sub Pop debut, Up and Away, in 2022, she catapulted beyond three million monthly Spotify listeners. That success was a blessing, but Σtella sometimes found herself pining for the slower pace of her youth. That longing is the thread that loosely binds together her fifth album, the entrancing Adagio. Borrowing its name from the term for music that’s meant to be played slowly, Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!’s Rafael Cohen and British songwriter Gabriel Stebbing, Adagio is a 27-minute meditation on love and desire, rest and time. Though the bulk of it is sung in English, Σtella delivers her first two songs in Greek here—“Omorfo Mou,” the one that began on the boat, and a cover of a 1969 cult classic of the Greek New Wave, Litsa Sakelariou’s “Ta Vimata.” It is a sign of the self-assurance that radiates throughout these tender and smitten little tunes. Start to finish, Σtella sounds more at ease and comfortable than she’s ever been on Adagio. These fetching songs will not slow her career or grant her that title track’s wish. But, for half an hour, Adagio adds a measure of warmth to the world, with time loosening its grip even if it doesn’t slow down.● Athens, Greece-based Σtella’s new album Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time.● Features Rafael Cohen and British songwriter Gabriel Stebbing.• Σtella’s breakout hit “Charmed” from her 2022 album Up and Away has nearly 100 million streams, and was recently featured in the hit Max show Industry.• On Spotify, Σtella has 3.4 million followers, 66k monthly listeners.

After a 30-year interstellar silence, the enigmatic producer Alien Signal—pioneering alias of Italian electronic composer Alex Silvi—reemerges with Whispers from Distant Suns, a transcendent odyssey that bridges retro-futurism and modern electronica. Hailed as a magnum opus, this album transcends genre boundaries, captivating ambient purists, downtempo aficionados, and even experimental listeners with its hypnotic fusion of analog warmth and digital precision.

Cosmic Tapestry of Sound
Drawing comparisons to Vangelis’ Antarctica and Alpha—but reimagined through a 21stcentury lens—Whispers from Distant Suns marries nostalgic synth textures with cuttingedge production. Silvi’s mastery of melody shines through in tracks like “Stardust
Memories” and “Fragile Eden” where shimmering arpeggios and celestial pads drift over robotic, glitch-infused drum patterns and sparse, meditative percussion. The result is a paradox: a retro-futuristic soundscape that feels simultaneously ancient and alien, familiar yet unexplored.

Listener Testimonials
Fans and critics have flooded forums with praise:

“An auditory revelation! It’s like Vangelis met Jon Hopkins in a nebula—vintage soul with a futuristic heartbeat.”
“The textures are gorgeously cinematic. Closing your eyes, you’re adrift in a Tarkovsky film scored for the Andromeda galaxy.”

The Vinyl Experience
Pressed on heavyweight vinyl, the album’s physical release amplifies its immersive qualities. The gatefold sleeve, adorned with surrealist astrophotography and metallic
foiling, mirrors the music’s cosmic ethos. Side A leans into Balearic serenity, with sundappled grooves and aquatic synth ripples, while Side B delves into darker, more
experimental terrain—think Aphex Twin’s Selected Ambient Works colliding with the organic rhythms of Jon Hopkins.

Maturity in Motion
This album is a testament to Silvi’s evolution. Tracks like “Seeds Of Light” and “Message from Andromeda Galaxy” showcase his refined ear for dynamics, balancing silence and sound with surgical precision. Vintage drum machines spar with glitches, while field recordings of crashing waves and interstellar static blur the line between Earth and cosmos. The closing track, “The Star Charts We Shared” crescendos into a 6-minute ambient requiem, leaving listeners suspended in a state of weightless awe.

Final Transmission
Whispers from Distant Suns is more than an album—it’s a transcendent odyssey. Spanning time, space, and the artist’s own creative evolution, this immersive work invites listeners to lose themselves in its ebb and flow. Designed for moments both intimate and expansive, its balearic-tinged atmospheres resonate equally through dawnlit Mediterranean terraces or the solitary glow of headphones in darkness. These are compositions that pulse, morph, and haunt the air long after the final note fades. A living soundscape meant to accompany life’s quiet revelations and clandestine joys—a soundtrack to your most personal moments, crafted as what the artist calls ‘private dance music.’

Tailored for the Discerning Listener
Whispers from Distant Suns is designed with the true connoisseur in mind. This album is a must-have for:

Vinyl Collectors & Audiophiles: Those who value the warmth and tactile experience of heavyweight, limited edition pressings
Electronic Ambient and Downtempo Fans: Listeners who appreciate immersive soundscapes that merge retro analog charm with modern digital innovation.
Retro-Futurism Enthusiasts: Fans of pioneering artists like Vangelis, Boards of Canada, and early Warp Records who seek music that bridges nostalgic synth textures with futuristic experimentation.
Experimental Music Explorers: Individuals drawn to sonic narratives that invite deep, contemplative listening—perfect for both introspective moments and immersive listening sessions.
This release is not just an album; it’s a curated experience for those who desire music as a multidimensional art form, merging the vintage allure of analog sound with a contemporary, cosmic vision.

For fans of: Vangelis, Biosphere, Jon Hopkins, early Warp Records.

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

With Helldorado, the third installment of SPIRITWORLD’s death-western trifecta, chief hombre Stu Folsom and his rhinestone- encrusted, Stetson-wearin' wrecking crew take you deeper into a world where the hot desert sun beats down on a singular vision of the American West as a gateway to hell. “It’s a different album than the past two,” says Folsom of the thematic and sonic journey that began with the Las Vegas band’s 2020 Pagan Rhythms LP and continued with 2022’s Deathwestern. From the honky-tonk swing of opener "Abilene Grime" to the Slayer-worthy riffing of "No Vacancy in Heaven" and the unforgettable "Oblivion" (which features members of Black Braid and Rise Against), SPIRITWORLD's story rides on with this latest offering, blasting Mojave-born bloodlust and stomping tomahawk riffs while charging straight into a sonic vision of macabre Americana.

On his Discrepant debut Memotone aka Bristolian Will Yates collects some unreleased recordings under a most aptly titled name - »Pruning« - following a healthy stream of releases for such esteemed labels as Black Acre, The Trilogy Tapes or Soda Gong.

Considering the process of pruning as a practice of selective removal, the album takes its name at face value never falling into a mere collection of tossed off material or random B-side assemblage, making it a cohesive listen throughout its disparate timeframe and evasions.

A statement about Memotone's vision itself, »Pruning« veers closer to his Fourth World/ECM/Exotica meets Sci-fi transmutations in alignment with what would be expected from a Memotone release on Discrepant. »Moss Zone« briefly sets the tone with a warm but queasy synth bedsheet that flows into the »Weird Figures« cyber- jungle, all small twinkling percussions and rainforest pads slowly rising. 'Riders' brings the synth-flute to an early Warp meets John Hassell's »City: Works of Fiction« scenario that pops up again in more disrupted form on »Wisdom MOTHER«. »Not What I Thought's« skewed tropical guitar gets going on lo-fi percussion and dissonant synth chords while »Jim Starling and The Inverse Church« bring to mind »Autoditacker« era Mouse on Mars going jazz-fusion. Or what we should expect from their Smalltown Supersound stint. »Beach Scene« is exactly it, as the sun sets into »Come In Don't Mind the Ghost« summer night's stars with all the allure of Stereolab.

Alluring, that's exactly it. Do come in.

"The Sunlandic Twins" markierte 2005 einen Wendepunkt für Of Montreal, als sich Songwriter Kevin Barnes einem stärker elektronisch-tanzbaren Sound zuwandte. Die lebendige Mischung aus Synthie-Pop und Psych-Rock wurde zum kommerziell erfolgreichsten Of Montreal-Album mit mehreren kultigen Fanfavoriten. Zum 20-jährigen Jubiläum veröffentlicht Polyvinyl die "The Sunlandic Twins (20th Anniversary Edition)", von Miles Showell in den Abbey Road Studios auf halber Geschwindigkeit neu für Vinyl remastert. Sie enthält das auf 45rpm neu geschnittene Originalalbum sowie einen digitalen Download mit einer zusätzlichen Fundgrube an Bonusmaterial, darunter bisher unveröffentlichte Raritäten, B-Sides, Coverversionen, Remixe und Livetracks, die einen tieferen Einblick in den kreativen Prozess hinter dieser faszinierenden Platte bieten. Neu verpackt auf holografischem Goldpapier samt Booklet mit noch nie zuvor gesehenen Skizzen des Cover-Artworks von David Barnes und einem Vorwort von Kevin Barnes.

The second release from the mysterious A Thin Man is finally here! Taking us on a deep ride through Rhodes, Latin and disco vibes, he's always looking for new ways to chop up. After JT001, who got a big shout-out from Rich Medina, this one is the next banger. Don't sleep and respect the low end!

Green vinyl repress, standard single sleeve printed inner. 'The Time Has Come' is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favorite record of all time.' Ryley Walker. // "I've never written songs, regularly, because I never considered myself a songwriter. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music." Anne Briggs // Offering some of her first original compositions, 'The Time Has Come' was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki. The result is that her vocals are not submerged, but heightened - the plucked strings providing the perfect foil for her crystalline inflection. 'The Time Has Come' is a mix of Anne's own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne's playing, with sounds ranging from the breezy 'Clea Caught A Rabbit' to the terrible beauty of 'Wishing Well' - each song typifying the bouzouki or guitar style. To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.

When Creed Taylor was setting up his CTI label one of his proposed signings was Billy Vera. This led to a deal for Vera’s younger sister Kathy McCord. In fact, McCord was the first artist signed and recorded by CTI. Her debut, “Kathy McCord” was released in 1970.

Although the label would go on to establish a fine reputation in jazz, “Kathy McCord” was a folk rock album. A gifted young poet the 17-year old McCord wrote many of the tracks on the album which were then interpreted in the studio by a crack team of jazz musicians that included Harvey Brooks (bass), Hubert Laws (flute), John Hall (guitar) and Wells Kelly and Ed Shaugnessy (drums). Musically and lyrically both the musicians and McCord stretched out on tracks like ‘Rainbow Ride’, ‘Jennipher’, ‘Candle Waxing’ and ‘Take Away This Pain’ to conjure up an amazing fusion of folk and jazz. The only cover on show was a version of Lennon and McCartney’s ‘She’s Leaving Home’ which McCord repurposed as ‘I’m Leaving Home’.

Upon release the album sold poorly. Creed’s expertise and contacts were in the jazz field and he had no idea how to market an album of folk jazz songs sung with fragile beauty by a good looking girl still in her late teenage years. Also, when Billy Vera did not sign to CTI McCord was dropped.

Over time “Kathy McCord” attracted a dedicated following amongst folk-rock collectors in America and the UK. In many respects it was an echo of something like Deena Webster’s 1968 folk rock LP, “Tuesday’s Child” that also came, went and is now sought after.

Ace are delighted to give the world the first vinyl reissue of “Kathy McCord” since 1970. Pressed on black 180gm vinyl it also includes liner notes from Billy Vera - who has this to say about his late beloved sister: “My sister had the goods. She could sing, she could write and she looked great. Like so many other talented people, she just failed to get lucky. Listen and enjoy her. I love her stuff”. You will too...

Opaque Gold Vinyl. Recorded over four nights at The Music Hall of Williamsburg, this triple LP is a veritable best-of from a band at the height of their performative powers. Featuring scorching renditions of the best-loved songs of the Phosphorescent catalog, from Los Angeles to Song for Zula, Phosphorescent delivers a live album for all-time. Comes with album download.

Listen to all the pearls of Electronic Music withe the releases dedicated to House, Techno & Drum"n"Bass, sélected by the REXCLUB in a doble vinyl collection ! DISCOVER THE NEW VOLUME OF THE REX CLUB COLLECTION : THE DOUBLE VINYL DRUM"N"BASS With : Roni Size * DJ Gilb"r * Phume * Goldie * Tek 9 * Special Request * Rockwall * Aquarian * LU2K * ...

Enjoy The Ride Records proudly presents 8-Bit '80s Hits, Volume 1. Get ready to experience iconic '80s hits reimagined as retro gaming anthems! Gamer Boy (Disappearing Lines: Chiptune Music of Tetris) has taken chart-topping 80s songs and integrated sounds from iconic arcade games!

8-Bit '80s Hits, Volume 1 is pressed on three colorful vinyl variants and includes a full-color 12" x 12" insert with liner notes, containing an overview of chiptune synthesis.

Here’s another one of those great early-‘90s glam metal albums that got lost in the grunge explosion. And because it came out in 1992, Capitol never bothered releasing it on vinyl in the U.S. So this one’s been a long time comin’…and as soon as you hear the opening cut “Hang On Lucy,” you know you’re in for a ride. Fans of Dokken, RATT, Skid Row, and Mötley Crüe will flip over Under the Influence…and lead vocalist Drew Hannah is in the grand tradition of Vince Neil et al. Trivia note one: Wildside ruled the Sunset Strip (and were the subject of a bidding war between Capitol and Polygram) under the name Young Gunns but was forced to change their name when Lionsgate Films came out with their Young Guns movie. Trivia note two: this was the first non-Van Halen record recorded at Eddie Van Halen’s 5150 home studio, engineered by famed Led Zeppelin producer Andy Johns! We’ve had this lost classic remastered for vinyl to make sure it pops…fire orange pressing housed in a deluxe gatefold jacket!

Vinyl Only / Sleeve manufactured with 400 mcn Fedrigoni "Shiro Eco" paper / Original unreleased poster with alternative artwork insert with notes by Tony Higgins printed on schedography peach past color paper / PVC outers / original artwork /

Personnel:
Tete Mbambisa - Piano
Basil Coetzee - Tenor Sax and Flute
Zulu Bidi - Bass
Monty Weber - Drums

Notes:
Mbambisa first gained prominence as a pianist in 1961 as a member of the Jazz Giants, this time with Pukwana as saxophonist, bassist Martin Mgijima and drummer Makaya Mtoshoko, setting the sound and shape of a scene that became known as Cape Jazz. Following an introduction from Chris McGregor, Mbambisa formed a band, The Swinging City Six, with saxophonist Ronnie Beer before going on to play at the end of the 1960s in the groups The Soul Jazzmen and Spirits Rejoice with Duku Makasi. As a member of The Soul Jazzmen, Mbambisa recorded the breakthrough album 'Inhlupenko Distress' in 1969 for the City Special label. After a recording hiatus, Mbambisa returned in 1974 with an octet album, 'Tete's Big Sound' released on a newly formed label, As Shams or The Sun, established by South African record store owner and independent producer Rashid Vally. 'Tet's Big Sound' included tracks like 'Unity' and the 'Black Heroes Lamentation', now considered a classic in the South African jazz underground.

The sound that Mbambisa carved in this period was wholly acoustic, and is a style that now is often loosely labelled spiritual jazz, a sound that alludes to deep African textures and rhythms balanced with clear nods to American hard bop and modal jazz, sometimes edging toward free improvisation in echoes of John Coltrane and Pharaoh Sanders. The music is often centred around a fulcrum of trance like vamps with repeated motifs that allow for extended pieces that create a hypnotic effect. This clearly exemplified on Mbambisa's next album, 'Did You Tell Your Mother', released in 1979, once more for The Sun label. (Tony Higgins)

In a continued disruption to the airwaves following releases from Bondo and Monde UFO, Quindi returns to the Californian noise rock scene-not-scene to dig on the gnarled riffs of Expose. On their new release, the LA outfit double-down on a unique blend of bloated guitar fuzz and grimy analogue synths, and come out with a curiously cosmic kind of kick-ass.
If there was a dreamy, sun-bleached quality to Bondo and Monde UFO, their label mates Expose sound more wrought from sweat-drenched jam sessions under halogen strip lights in grease-stained garages. But the guttural quality of their blown-out guitar tone is matched for vibrancy by the dexterity of their playing, bringing angular free jazz to post hardcore and sludge rock, capped off with the unearthly sonic possibilities of flamboyant synthesis.
This dual-layered wall of sound lends extra weight to the likes of shit-kicking 'Speed Dial', which thunders like a kosmische juggernaut with amped up leads and a dead-eyed vocal condensed into a visceral minute, all with enough time for a dramatic breakdown, synth eruption and a final thrust. Similarly scooped out of the trash compactor, 'Description' rides for longer with one foot pressed firmly on the fuzz pedal, letting the electronics squeal around the punked-up rush of the guitars.
But Expose are not a one-dimensional band constantly thrashing it out. By contrast, 'The Constant' hits a crushing emotional note in its more structured push and pull between delicacy and heaviness, hitting bittersweet notes along the way throughout the peaks and troughs of the arrangement. 'Self Terror' washes languid, discordant guitar strum into swirling FX accompanied by sax from Monde UFO's Ray Monde.
Smart as a whip, sharp as a tack and boiling over with an untameable urgency, Expose make their presence felt in brilliant, bruising form on this particularly fierce addition to the Quindi catalogue.

WRWTFWW Records presents its third collaboration with Japanese electronic/ambient/synth-pop crew Interior, this time with the release of band member Daisuke Hinata’s forgotten solo treasure from 1989: Tarzanland. The feel-good/smooth ride LP is available as a limited-edition turquoise and light pink vinyl housed in a heavyweight 350gsm sleeve with obi strip.

Available on vinyl for the first time ever, Tarzanland is late 80s California sun-soaked kankyo ongaku, minimalistic proto-chillwave, the synth melody of a pleasant Sunday breeze as the ocean waves breathe in and breathe out. Steve Winwood and Steely Dan come to mind as the ambient sound design of an imaginary John Hughes movie unfolds as all pieces of the puzzle come together for a blissful journey of simple pleasures.

Daisuke Hinata is a Grammy-nominated artist, composer, producer, and member of Interior. This is WRWTFWW’s third release centered around the work of the band, following the reissue of their Haruomi Hosono-produced self-titled debut (1982) and the first release ever of Sculpture of Time (Apocalypse), their rarely heard before commissioned piece for German environmental artist NILS-UDO. All still available on We Release!

*Music You've Never Heard Anywhere Else Before*

A sunny and flamboyant spirit, the brazilian João Selva carries us away with his new wave album “Onda” - Underdog Records /2025.

Navegar (“to sail”) in 2021, Passarinho (“lit-tle bird”) in 2023... through the titles of these last two albums, João Selva will have displayed his ambitions and ideals: to fluidly and swiftly connect the musical components of a Black Atlantic that would extend from Brazilian samba to Angolan Semba, from Cape Verdean funaná to Caribbean zouk via Congolese rumba and American funk. His new album Onda continues to ride this same wave, crowning a luminous transatlantic artwork, imbued with sensuality and joie de vivre.

DISCHI presents Pablo Bozzi's new EP, Fantasy. After releasing multiple singles, the Berlin-based producer and DJ is back with three fresh tracks. Saddle up and get ready to ride with Sunday Rodeo, opening the EP with upbeat bouncy bass, hard-hitting 90s synths and a piano-driven melody. On Fantasy, an alluring voice leads, accompanied by potent kicks and zesty lines, sprinkled with a touch of acid. Closing the EP is Siempre, a dreamy, gleaming synthwave journey scattered with distant yet intimate voice samples. Once again, Bozzi demonstrates his undeniable ability to get dancefloors moving.

Berlin bassist, composer, studio musician and sought-after sideman Thomas Stieger releases his solo debut album 'Choices'. Stieger's first album as a bandleader features guest appearances by well-known musicians such as trumpeter Randy Brecker, bassists Will Lee and Tim Lefebvre, drummer Wolfgang Haffner, as well as rising stars singer Alma Naidu and keyboardist Simon Oslender.
With his ambitious solo debut, Thomas Stieger, who has already played on over 100 recordings in various styles and released two albums as a member of the prog-fusion-cinematic-jazz band Marriage Material, shows his creative, very personal side.

'Choices' combines melodic groove tracks such as "Noemi's Song" and "Hissing the Flag" with the African-influenced "Chez Aly". The ballad "Resistance", the ode "Glimmer of Hope", the march "The Night You Changed Your Mind" and the title track are provided with string quartet arrangements. Stieger also jams to electro-dance grooves in "Night Ride", creates an atmospheric mood in "Lavender Skies" and closes with the beautiful "Ocean", sung by Alma Naidu.

Thomas started playing guitar at the age of ten and switched to bass at 15. He played in numerous bands and started his own jazz fusion projects. In addition to his work with the band Marriage Material, which he co-founded in 2018, Stieger played in various groups led by drummer Wolfgang Haffner and worked with many well-known artists and orchestras, including Gregory Porter, the Berlin Philharmonic Orchestra, Thomas Quasthoff and Sarah Connor.

Alpha Beta Gamma Delta Plus' endlich auf Vinyl, als expanded Doppel-LP in Gatefold. Die 13 Original-Tracks von 'Alpha Beta Gamma Delta', plus 9 Bonus-Tracks, die zuvor auf Single und alternativen Akustik-Tracks veröffentlicht wurden, auf einem denkwürdigen Album von unfehlbarem Inhalt: zeitgenössischer, aufregender, dunkler und gefährlicher Rock & Roll. Alpha Beta Gamma Delta, von der Band im September 2022 selbst veröffentlicht, war das erste neue Material der legendären britischen Rock'n'Roll-Gruppe The Godfathers seit fünf Jahren. Das während der obligatorischen Pandemic-Pause aufgenommene Album wurde von den Fans in den höchsten Tönen gelobt und erhielt einige der besten Kritiken in der gesamten Karriere der Band. Peter Coyne, Leadsänger und Frontmann der Godfathers, nannte es ,eine klangliche Tour de Force". Alpha Beta Gamma Delta ist eine brillante, aktuelle Sammlung von Rock-'n'-Roll-Songs, die perfekt mit dem konkurriert, was The Godfathers in der Vergangenheit gemacht haben, und Spannung in eine Welt bringt, die nicht mehr die Welt ihrer Anfänge ist. Sie behalten ihre Identität bei, aber der Gesamtsound ist etwas anders. Zur Wut der Vergangenheit gesellen sich Gesangsharmonien ('Bring on the Sunshine'), Gitarrensoli, Melancholie und eine Reihe neuer Referenzen, die auch ihre eigenen sind. Dead in Los Angeles", ein Song über einen Spaziergang im Mondlicht, könnte von einigen mit The Doors verglichen werden, und ,Tonight` ist sehr Iggy Pop. Die Godfathers machen auch leisere Nummern, wenn es nötig ist, und so ist Peter Coynes Baritonstimme auf dem sensiblen, honigsüßen ,There Is No Time" zu Hause. You Gotta Wait" ist ein melodischer Punkrock-Klassiker, der das Montagsgefühl auspackt, bei dem das Wochenende eine Million Meilen entfernt scheint... Kurzum, dreizehn Tracks solider und abwechslungsreicher wütender Rock'n'Roll für eine neue Ära. Darüber hinaus enthält Alpha Beta Gamma Delta PLUS drei Tracks, die auf der Originalausgabe des Albums nicht enthalten waren: 'Wild and Free' (zuvor als Single zusammen mit 'I'm Not Your Slave' veröffentlicht) sowie 'When the Cowards Fall' und 'Fade Away' (enthalten auf ABGDs Vorab-EP 'Midnight Rider'). Außerdem sind sechs akustische Neuinterpretationen der Titel enthalten, die während der Studio-Sessions eingespielt wurden. Alpha Beta Gamma Delta Plus ist ein melodisches, reifes und abwechslungsreiches Album, auf dem The Godfathers weiterhin ihr wütendes Wesen in einer anderen Ära, in einer anderen Welt zeigen, in der sie sich immer noch weigern, Rock 'n' Roll als Routine zu akzeptieren.

A surreal mosaic of eerie chant processionals, tape-rot trickery, and panicked oud madness. These are sonic forgeries of atavistic heritages, recorded by analog means using esoteric techniques."" They have been known by many names: The Givers of Illness; The Bandylegged Riders of the Ill-Promised Sun, etc_ Honed and expanded through their travels, Ak'chamel's singular sound comprising desert-scorched psychedelia, post-apocalyptic shamanism, and bizarre ritual folk is as unique as the physical theater of their otherworldly live performances.

Sardinia-based heavy psych and power stoner
rockers Bentrees’ sound is a vibrant mix of fuzzy
power blues and hard rock influences, drawing
from the 70’s and wrapped in the glory of 90’s and
early 2000’s stoner rock.
 Bentrees create a wild ride of addictive and heavy
riffage into psychedelic wonderlands. They have
been continuously looking for an authentic and
genuine formula, often represented by
introspective lyrics - a reference to their homeland
and connection with nature.
 Following the band’s 2017-debut, ‘Psychollage’,
and countless live shows with acts such as
Yawning Man, Black Rainbows, The Cosmic Dead
and The Spacelords, Bentrees are now ready with
their new opus, ‘Two Of Swords’.
 For fans of Lowrider, Celestial Season, Atomic
Vulture, Kyuss, Nebula, Spirit Caravan, Monster
Magnet, Acrimony, King Buffalo.
 LP pressed on blue vinyl.

lack Sabbath is, along with Led Zeppelin and Deep Purple, the most important british hard rock band of all time.

With its dark, mystical, obsessive atmosphere, Black Sabbath built an unique sound that has influenced countless bands since its emergence in the late ‘60s to these days. As usual in our series The Many Faces, we will enter the fantastic secret world of Black Sabbath, and we will enjoy their collaborations, side projects and their greatest hits. The Many Faces of Black Sabbath is a fantastic album, especially for those of you who considers yourself fans of hard rock.

Now, it’s part of our Many Faces collection on vinyl format.

"Sympathy Pain is an unusual animal, as their collective backgrounds come from hardcore, drone, and experimental pop in Salt Lake City, Utah. Sympathy Pain began as Skyler Hitchcox’s gloomy drone project which was later joined by Casey Hansen (of Cult Leader) to explore and expand the sullen space that the project initially carved out. Sympathy Pain is rounded out by Chaz Prymek (Lake Mary) and Nora Price. The deep connections to Salt Lake City’s underground well of experimental music have deep entanglements. Sympathy Pain has emerged from those entanglements with a clear eyed thesis, transmuting the often oppressive cultural climate of Utah through a personal veil of heavy sorrow.

Swan Dive is the product of years of excavating that space into a cavern, yielding their self-described “emo)))” (a nod to the preeminent doom/drone band Sunn) while still holding onto the submerged soundscapes that began as the core of the project. The album is expansive — a winding ride that travels from minimalism, to claustrophobic ambient, to triumphant passages that all underscore its forlorn undercurrent.

Originally released in January of 2024 as a CD by The Ghost is Clear and cassette by Diabolical Records, Swan Dive finally finds a new life on vinyl - reissued by the Cincinnati, OH record label Whited Sepulchre Records.

Tracked with Wes Johnson at Archive Recordings in SLC, UT and mixed/mastered by longtime friend and co-conspirator Ben Young, the album features a haunting guest spot by Madeline Johnston of Midwife on “Heaven + Hell” to close out the album."

Lennon & McCartney. Simon & Garfunkel. Ralf & Florian. Enema & GeJonte. The inventors of modern pop music as we know it. Joining forces in 1988, Orebro duo Kai Parviainen and Jonas Ohlsson put out four cassettes and a split album with Frak under the Enema & GeJonte guise, all teeming with clever and funny electronic pop songs. The sound? Imagine Duet Emmo jamming out with the Residents on a wheat field on Narkeslatten. Or picture early Severed Heads covering lost Philemon Arthur & The Dung tapes. Kai pushes his Sequential Circuits Pro-One synthesizer to its limits while Jonas makes discerning observations on everyday life in a Swedish small town. Mostly sung in Swedish, sometimes in English, but always with a touch of sweet naivety and innocence on par with lo-fi punk/pop geniuses Dan Treacy and Daniel Johnston. Typical song subjects: A friendly game of five-a-side football. The joy of rising at the crack of dawn to get on with the tasks of the day. A bus journey to Odensbacken to savour a semla at a local cafe and some small talk with the gas station manager. All delivered with a playfulness and ecstasy more commonly found on the records with Swedish Christian music Kai so devotedly collects than in contemporary industrial or electronic music. When Jonas moved to Amsterdam in 1996 the boys ceased making music together, leaving behind a treasure trove of unreleased material, some of which appeared on a couple of cassettes in the 00's. But the best stuff has remained buried until now. How dada pop gems like ''Joxa med trasan'' and ''Underground'' could dwell in obscurity for thirty-ish years beggars belief. Other standout tracks on this compilation: ''Plan 714 till NYC'', a wonderful waltz time instrumental performed in the vein of a drunken Bob Hund, and the En Halvkokt I Folie style cut up experiments of ''Gasten Harry''. So get ready for a glorious blast from the past, as the Swedish pioneers of the hypnotic groove cordially invite you to a sonic journey as adventurous and memorable as a trip on the lansbuss to Odensbacken. Get on board, grab a seat and enjoy the ride. Liverpool. New York City. Dusseldorf. Orebro. // Ulf Osterstrom

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

PIFF Records welcome 4 in - demand artists to the label on their latest release, also available as a limited 500 press vinyl release. Home to forward-thinking house, trance, and techno, PIFF Records boasts a diverse yet united musical output. Cosmic, dub - driven techno, atmospheric house beats, and everything in between coalesces under the imprint’s distinctive output of thoughtful, club - ready sounds. All aspects of PIFF Records come together on this release as the featured artists balance the cerebral and visceral in their productions.

Cybernet kicks off the release with Resonant Shifter. Pumping kicks lay the foundation for captivating synth arpeggios and warped call and response basses in this ‘90s - inspired cut of contemporary progressive trance. The perfect soundtrack for any location from sunset on the Ibiza seafront to sunrise as the shutters open at a warehouse rave.

Goa elements are out in full force on Hoe Down, courtesy of Glen S. Squelchy 303s, low textures, and metallic arpeggios resonate above a pulsating bassline and weighty kicks, relentlessly pushing forward and ascending to a new sonic dimension - taking you along for the ride.
Body Clinic substitutes the progressive trance for progressive house on Love X, bringing down the tempo but keeping intensity intact. An infectious, syncopated plucked bassline dances around groove - rich drums, psychedelic effects and leads indebted to early ‘90s releases. A masterful blend of the past, present, and future together on one track.

Closing the EP with Empty Clip, Tom Jarmey disrupts the 4x4 rhythms of the preceding tracks w ith a genre - bending cut of electro - infused breaks. Two-step drums are matched with clinical sound design, deep basses, and mystical arpeggios. Sure to add depth to any set and turn heads in the process.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Limited metallic silver/white "disco ball" splatter vinyl available while supplies last.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

First time on vinyl for David Sylvian’s 29-track career-spanning compilation from 2000.
Features key songs from Japan and Rain Tree Crow, as well as David’s Virgin Records solo years.
Also includes key collaborations with Ryuichi Sakamoto, Robert Fripp and Alesini & Andreoni.
Alongside the remixes of “Ghosts” and “Bamboo Houses”, the album features tracks such as the beautiful ‘Ride’ from the ‘Secrets of the Beehive’ sessions, two dobro pieces written with Bill Frizell and “Cover Me with Flowers” from the ‘Dead Bees On A Cake’ sessions, plus the classic “Some Kind of Fool’ taken from Japan’s sessions for ‘Gentleman Take Polaroids’.

Prepare yourself to ride a cosmic wave of progressive sounds with a touch of speedy acid baselines cooked by the unknown master of Osaka, Ryunosuke Tahara aka Paperkraft. The japanese producer and dj has been working non stop for the last 10 years, on a ride that has taken him to write this beautiful 4 Track EP called Acid Asia.

The EP starts with ”P Spectrum”, a psy trance oddisee containing all the elements to “give you the power” ;) Ravy sounds, fast bpm, and big acid baselines, following by the track tht gives the name to the EP: “Acid Asia”, a more cruising house track, with original sounds from the country of rising sun. B side follows with “Munchakoopas” a nice house track, with sweet melodies, acid synths and the sample of my favorite nintendo character: Yoshi. The EP ends up with Cosmic Flower, a strong percussion over a progressive melody and psytrancy vocals that will make you lose your head.

4 Massive tracks, 4 DJ Cuts, 4 Club Use Only. Perfect for your local rave, or the main stage of your favorite festival.

Lee Ranaldo and Rob Menard have been friends and collaborators for years and this split cassette release on Important Records' Cassauna label amplifies their unique musical personalities and sonic compatibility. Both artists contributed over 30 minutes of music making this a pair of mini-albums on one tape.

Ranaldo plays Farfisa, electric guitar, tres, marimba, bass and bells, taking the listener on a lyrical, hazy, ride full of life, time and echoing riff shimmer. Massive vibes from author, artist, Sonic Youth gtr slinger.

Rob Menard (Ascension Sound), delivers a mini-album of washed out, minimal lo-fi astral guitar and feedback drones. Menard founded the 20 Guitar Circular Wall Of Angelic Sound and practices vibrational frequency healing.

ride a horse do archery tell the truth

Those in the know are well aware of Bobby Marin's work, and the fact that he was behind the scenes for some of the best boogaloo and salsa of the '60s and '70s. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This compilation comprises twenty four essential boogaloo, Latin funk, rock and afro disco gems, each one bearing the mark of quality: "A Bobby Marin Production", including songs by Ricardo Marrero, the Ghetto Brothers, Ocho, Louie Ramírez_ A freshly curated overview of his fascinatingly complex back catalog in these genres. Since the late 1980s there have been numerous Latin soul and boogaloo compilations, and certainly much has been written about the history of the music too and an an excellent documentary (We Like It Like That, by Mathew Ramírez Warren) have brought the music to a broader audience. Generally, when discussing the "first wave" of Latin soul and boogaloo, it's the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers behind the music? Over the years, one of the best old-school New York Latin music producers, Bobby Marin, has occasionally been given some well-deserved credit and popped up sporadically in articles or liner notes (Wax Poetics, Fania, Gladys Palmera). However, to the casual public, he is not a household name, even among some fans of boogaloo. There are even some contemporary Latin soul compilations that contain mostly material licensed, produced and / or written by Bobby (or his brother, Richard), and a tip of the hat must go to Bobby's friend Dean Rudland for all his work in this area, as well as to Rocafort Records for digging up the long-lost Nitty Gritty Sextet album. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This collection aims to change that and give the man his Latin soul "props" for the first time on a freshly curated overview of his fascinatingly complex back catalog in this genre.