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If a “sound” is unique, it can often expect a reasonable success. However, it takes a great deal more than just uniqueness to sustain this success. The Fleetwoods did this – and more. They became America’s top teenage vocal trio. Their sound was more than just different and identifiably their own. It was a perfect blend of young voices, just right for so many of the fine ballads they were singing. The Fleetwoods’ secret, if you can call it a secret, was sincerity. They simply gave each lyric they sang its truest and sincerest meaning. Over the years, many others have tried to imitate them, but none have come close to the overwhelming success they had. We hope you will enjoy this album of The Fleetwoods’ very best recordings.

Step into the realm of legends with « This Thing EP » by Lukas Lyrestam & Simoncino, featuring the iconic voice of Robert Owens—a true gem on vinyl. This release brings together the visionary talents of rising stars Lukas Lyrestam and Simoncino with the remix artistry of house music luminary Chez Damier, crafting a blend of past and future that resonates with the magic of timeless house. The EP opens with « This Thing » a creation by Lyrestam & Simoncino, elevated by Robert Owens’ soulful vocals that weave effortlessly into the groove, setting the tone for a transcendent sonic journey. Chez Damier, one of the genre's most revered figures, takes the reins with a masterful remix that transforms « This Thing » into something even greater, infusing his deep and emotive style to further enrich the track's essence.

« This Thing EP » is more than a release; it's a celebration of house music’s enduring legacy, uniting legends across generations. Available in limited edition on Skylax Records, this vinyl is a must-have for true aficionados. Don’t miss your chance to own a piece of house history secure your copy and join the legacy.

Das neue Album von Klô Pelgag bestätigt ihre sensationellen Skills als Komponistin, Produzentin und Musikerin, die sie zu einer der markantesten Kreativkräfte ihrer Generation in der frankophonen Kulturlandschaft machen.
Von den ersten Noten an zeigt die Musik auf "Abracadabra" raffinierte Kontraste, während sich die Texte durch präzise, kraftvolle, poetische Bilder auszeichnen, die Melodien zu gleichen Teilen Zerbrechlichkeit und Komplexität vermitteln und Klô Pelgags elegante Stimme im Mittelpunkt steht.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)

Brand new collection of Studio One killer tunes, focussing on the late 70s, 80s and beyond.
Since the early 1960s Clement ‘Sir Coxsone’ Dodd had established Studio One as the unparalleled leader in reggae music in the world. In the years that followed he established the careers of countless reggae legends – Bob Marley & The Wailers, Marcia Griffiths, The Skatalites, Horace Andy, Dennis Brown, Burning Spear and many more.
From its inception Studio One had been at the forefront of every major development in reggae music – ska, rocksteady, roots, DJ, dub and, starting in the second half of the 1970s, dancehall.
Having attained such great success, by the late 1970s Clement Dodd was free to enjoy Studio One’s now firmly established supremacy in reggae music. He released a series of stunning new albums at the end of the decade by Sugar Minott, Johnny Osbourne, Freddie McGregor and others that rode the wave of dancehall and set the path of Studio One’s output for the following 25 years.
During this period, long-established artists such as Alton Ellis, Jackie Mittoo and others returned to the label, recording some of their most creatively satisfying albums with new music that both celebrated the classic sound of Studio One while continuing to experiment, push boundaries and look forward to the future.
This release celebrates this sometimes overlooked golden era at Studio One in the 1970s,1980s and beyond.

"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.

So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.

The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence.

With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement.

For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together.

The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work.

In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.

Gilles Peterson: "Fascinating… love this. Thoroughly recommended"
The Observer: "The focus is on great grooves and fine playing. A band to seek out."
The Guardian: "Delightfully quirky album of folk songs reimagined from Afrobeat to reggae"
The Times: "Minyo Crusaders sound like nothing else lurking on your Spotify playlist"
(PRESS FOR PREVIOUS ALBUM)

Minyo Crusaders return with theiir highly anticipated sophomore album TOUR OF JAPAN following on from their debut that has sold 4k on vinyl since release and their runaway single smash 'Cumbia Del Monte Fuji' that has almost hit 5million streams on Spotify.

Since the release of their debut in 2019 the band have toured Europe four times playing major European festivals such as Roskilde, Best Kept Secret, Green Man Festival, WOMAD, Fusion, Les Escales, Lowlands and many, many more, succesfully road-testing the songs from this album.

On this new album which has been mixed by Mario from Frente Cumbiero, Minyo have finessed their winning formula of adapting ancient Japanese folk somgs to global rhythms with influences this time from Ethiopia, boogaloo, salsa, West Africa and jazz. Says band-leader Katsumi: "The concept of this album is the sea with various expressions".

Die 1967 gegründete Band TEN YEARS AFTER zählte in den späten sechziger und frühen siebziger Jahren zu den innovativsten und erfolgreichsten Vertretern der britischen Progressive- und Rock-Szene. So veröffentlichte die Formation, der zwei Jahre später mit ihrem Auftritt beim legendären Woodstock-Festival der internationale Durchbruch gelang, acht hochgelobte Studioalben. Die jetzt erhältliche LP - gepresst in weissem Vinyl - präsentiert
Klassiker und Hits der Band wie ‘I‘m Going Home’, ‘I Woke Up This Morning’ u.v.m.

Remastered reissue of the second landmark EP for Plus 8 Records by Speedy J. Again expanding on the emerging sounds of Techno Speedy J took it further into euphoric, minimal lofi and bleepy territory with ''Rise'', ''Tresor'' and ''De-orbit''. All while effectively stripping it down to the bare bones rocking only a 909 and a vocal sample on ''Something For Your Mind''. This release and in particular ''Something For Your Mind'' was there at the forefront of techno as we know it these days with a harder, raw and no-nonsense approach and all its variations such as Gabber that grew out of that in Rotterdam the following year.

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages.

The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance,
Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

LA SACREE GROLE is a tale by the TAMERANTONG company, set to music by LUDWIG VON 88.

TAMERANTONG! is a theatre company based in Mantes-la-Jolie, Paris-Belleville and Saint-Denis that puts on shows with children and young people from these neighbourhoods.

LUDWIG VON 88, road companions of the great hours of alternative rock (Bérurier Noir, Parabellum...) is also the only rock band capable of rhyming in ‘ong’.

TAMERANTONG! had long been plundering their repertoire for their shows. In retaliation, the Ludwigs decided to compose the soundtrack to ‘La Sacrée Grôle’: a Gallic legend told and sung by twenty kids from Paris-Belleville.

In the heart of the land of the Arvernes, reigns a valiant free people. Their village lies on the edge of a dreadful forest where no one ever ventures. But the time has come for all the peoples of Gaul to enter the fearsome forest and set off in search of the Sacred Pole!

La Sacrée Grôle premiered at Paris-Belleville and was performed from 1996 to 1998 in Paris (Café de la Danse, Palace, Trianon, Café Éphémère / Les Halles), Mantes-la-Jolie, Briançon, Rouen (Festival Débarquement Jeunes) and Montreal/Quebec.

This record, released for the first time on vinyl by the Archives de la Zone Mondiale label, includes 7 previously unreleased songs by LUDWIG VON 88.

The Intima led a chameleon-like existence from 1999 to 2004, confounding critics who struggled to describe their distinctive sound while sharing stages with everyone from The Rapture to The Mekons. Hailing from Olympia and Portland, the postpunk quartet utilized sharp rhythms, prescient lyrics, and a collaborative compositional approach to conjure forth a sound that manages to be explosive yet detailed, experimental yet propulsive and melodic. Featuring a classically-trained violinist, custom-tuned guitars that careen at odd angles, and an imaginative and powerful rhythm section, the band explored the intersection of art-punk and agitpop with a spirit and tenor uniquely their own. In 2017, the Polish website More Noise summed up their sound by saying that "the first association that comes to mind is The Ex and the Dutch avant punk scene of the 1980s, but fans of the bands Dirty Three, Godspeed You Black Emperor and Unwound may also be intrigued."The group toured the States extensively during the 4+ years that they were active, including one grueling six-week tour undertaken just after 9/11 and another one in 2003 during which the US began bombing Iraq. The group's live sets are remembered for their combination of unbridled intensity and tightly-coiled musicianship, as well as their chaos potential, whether that chaos was performing in the middle of an illegal street party or causing a PA to burst into flames immediately preceding a headlining set by Deerhoof. A memorable show in DC with Q And Not U was mentioned by Dischord group Black Eyes in their Speaking In Tongues booklet last year, with Hugh McElroy describing the Intima as "a really aggressively-beautiful and poetic punk band with a violin where a guitar normally would be...pushing genre barriers in a way that helped me see a vision of how we might want to do that ourselves."Peril and Panic was recorded in Olympia over eight months in 2002 and was released in 2003 on LP (Zum/Collective Jyrk) and CD (Slowdance). In 2022, in the midst of the pandemic, the group commissioned Jason Powers to remix the original tracks from the ground up, which turned into an 18-month endeavor that included some compositional edits, significant work to improve the sound of the drums, and the uncovering of unreleased songs. Today, a fully remixed and remastered Peril and Panic is finally being released into the wild sounding much closer to how it was originally meant to be heard. Sounding more relevant than ever, it seems increasingly clear that the ideas and feelings that informed both band and album are no longer so "radical" - if anything, they've become the zeitgeist of today, as a confluence of global crises points to a fraught future long predicted.

Long overdue, we are happy to welcome Damiano von Erckert to Cocoon Recordings with his debut single, bringing late summer vibes that were well worth the wait. Damiano's lovely energy shines through in this EP, resulting in music that blends soulful character with his signature house sound.

“Steam (Staub Mix)” lifts your spirits from the very first beat, and the summery vibe of the housey Rhodes piano brings a smile to your face. Yet, the track retains a somewhat wistful and melancholy feel. Skillful intonation gives the break a jazzy feel, it's this friction that makes it special. Von Erckert showcases his skill with this playful arrangement, sure to have dancers' hands reaching skyward. The second track “Das Was Not Around” is a masterclass in purism, where simplicity meets profound emotion. Swirly synth pads unfold to create a dreamy, immersive atmosphere, pulling listeners into its depths. Despite its introspective title, a sense of hopefulness permeates the track, as if reaching for light through the shadows. Damiano’s approach allows every element to shine, making the deep grooves and ethereal sounds feel both intimate and expansive. It’s a journey of reflection yet imbued with a quiet optimism that lingers long after the final beat fades.

The essence of reduced Chicago drumming is brilliantly embodied in “Roh”, channeling a raw, stripped-back rhythm that strikes with precision and purpose. This forms the bedrock of a composition that feels timeless. The track carries an unmistakable grandeur, echoing the majestic hymns of certain legendary French artists. As the beats develop, they evoke a profound sense of reverence and nostalgia, seamlessly blending classic house influences with a modern edge. It's a track that honors the roots while confidently advancing the frontiers of contemporary house music. "Fantazia 93" is a nostalgic dive into a ‘90s House vibe, channeling the essence of that unforgettable era with authenticity. Damiano's signature sounds are front and center, infusing the track with a unique touch that’s fresh while reminiscent of classic house anthems. The track exudes an Ibiza after-hour feeling, transporting listeners to those sun-drenched days where time seems to stand still. It’s a sonic journey that feels like sunbeams warming the skin, bathing the senses in a radiant, feel-good energy that resonates long after.

Berlin-based duo TRAINING team up with bassist Ruth Goller for their new album ‘threads to knot’. Frenetic free-jazz is sitting next to post-rock riffs and looming microtonal atmospheres.
The record was written in a truly collaborative effort, adapting the concept of ‘cadavre exquis’, the popular drawing game: One person would start writing a few notes before passing it on to the next, revealing only the very last note, with which the composition continues.
TRAINING is comprised of drummer Max Andrzejewski and sax player Johannes Schleiermacher, whose last album ‘Three Seconds’ saw them collaborate with Deerhoof guitarist John Dieterich.
Ruth Goller, who has been hailed by the Guardian for her 'thunderous bass-guitar hooks' has made waves this year with the release of her second album 'Skyllumina'. She’s also known as a live performer with Kit Downes, Alabaster de Plume, Melt Yourself Down among others.

"Redrawing pop music’s borders in the early 21st century, London trio Sugababes occupy an important
place in the history of British music. Formed in London in 1998, the group seamlessly combined
mainstream pop with cutting-edge R&B, soul and dance music – and they added to this intoxicating mix
on 2002’s Angels With Dirty Faces, an album which brought avant-garde electronic music to the masses.
This landmark second album from Sugababes includes the era-defining ‘Freak Like Me’, which, helmed
by underground producer Richard X, rode a sample of Tubeway Army’s ‘Are “Friends” Electric?’ all the
way to the top of the UK charts in the spring of 2002. Led by the guiding hand of the Xenomania
production team, ‘Round Round’ repeated the trick, paving the way for Angels With Dirty Faces to clean
up that summer, going triple-platinum and scoring Sugababes the 2003 BRIT Award for Best British
Dance Act.


"

"Among the great British bands celebrated during National Album Day, cult Liverpudlian act The La’s are in a league of their own: unlike all the other groups they share shelf space with this year, they are the sole group to have released only one album. Issued in October 1990, their self-titled debut has been hailed as one of the greatest albums of all time by NME, and was also placed at No.13 in Rolling Stone’s 2021 run-down of the 40 greatest “one-album wonders”.

Selling 300,000 copies in the US and 500,000 copies at home, The La’s has become an indie touchstone.

No shortage of that reputation rests on the single ‘There She Goes’, a reissue of which hit No.13 in the UK, on its way towards racking up double-platinum sales figures. With their album now making a return on “coke-bottle green” wax, The La’s have more than secured their place in British music history.




"

The most iconic holiday record in Verve Records’ repertoire and one of the most successful jazz holiday albums of all time like you’ve never heard it before! This expanded edition of Ella Fitzgerald’s classic 1960 album Ella Wishes You A Swinging Christmas features a second LP with six tracks making their vinyl debut - for the first time, all of Ella’s holiday recordings for Verve Records and Decca Records are together on one collection. Housed in a beautiful gatefold jacket featuring a “deluxe” take on Gene Grant’s classic 1960 album artwork, the package also includes a beautiful 8-page booklet with detailed session notes and essay from journalist Will Friedwald, plus a sheet of cut-out holiday ornaments – the perfect gift for any music fan. Nearly 65 years after its original release, Ella’s beloved holiday classic is now twice as long as it was in 1960. As Ella herself once said, “the only thing better than singing is more singing,” and the only thing better than the original Ella Wishes You a Swinging Christmas is the new, expanded edition!

Rubblebucket’s new album explores one particular year from the band’s past known as the Year Of The Banana. Frontwoman Kalmia Traver has a personal practice of naming each year since 2011. However, in 2015 (Year Of The Banana) Kalmia’s romantic relationship with Rubblebucket co-founder Alex Toth fell apart, and that year was spent peeling off psychological layers in search of the sweetness that would allow the friendship, and the band, to continue. “People get obsessed with the albums that were never finished because the band couldn’t stay together,” Kalmia says. “But Year Of The Banana is the album that did get finished.” So Rubblebucket is celebrating 15 years as a band with a record about the year it almost ended. Rubblebucket is still a through-and-through art rock dance band, virtuosic experimental musicians with a pop sensibility along the lines of Talking Heads, Prince, or Kate Bush. But there’s nothing retro about Rubblebucket’s sound; they’re mixing electronics with real instruments, especially horn sections (Alex plays trumpet, Kalmia sax) and they feel at home in the same universe as Caroline Polachek, SZA, or Chappell Roan. Listening to Year Of The Banana, it’s impossible to overlook how joyful it is, how full of hope. The album speaks to the power of transforming and adapting relationships in a time when the world needs it most. The album has a transforming effect, inspiring us to face ourselves and radically keep loving each other, assuring us that the unpredictable process has potential to feel as free and sweet as peeling a banana on the dance floor.

The dB's 1981 second album & Power-Pop classic is available once again & newly remastered. Pop Dose noted “Repercussion is essential listening. It is necessary. It is pure and magnificent. It is a triumph...listen to it and absorb it.” Uncut stated “..this is The dB's' finest, the tension between the two writers' styles reaching its quasi­ psychedelic peak.” 9/10. The album was produced by Scott Litt (later a long-standing R.E.M. producer) giving it a fuller, more modern overall sound. The dB’s signed with the British label Albion and released 1981’s Stands for deciBels and 1982’s Repercussion, which became instant favorites among the fans, critics, and college-radio programmers fortunate enough to hear them. But the fact that the albums were available only as high-priced, sparsely distributed imports kept the band from reaching a wide audience in those pre-Internet days. The band will be touring select US cities in the Fall of 2024 and Winter of 2025 to support the first-ever US vinyl releases of the band's debut and Repercussion.

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner"s extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.

Honest is the second album by the English rock and pop band Dave Stewart and the Spiritual Cowboys released in 1991.

The bandmembers on this album include Chris Bostock from JoBox-ers, Jonathan Perkins, Olle Romo and Nan Vernon,

but also include Martin Chambers from the band The Pretenders and John Turnbull from Ian Dury and The Blockheads.

Honest is available as a limited edition of 750 numbered copies on translucent magenta coloured vinyl and includes an insert with lyrics.

Als Band sind die sechsköpfigen SILVERBACKS aus Irland rastlos und begierig darauf, das nächste eigene große Ding in Angriff zu nehmen: Drei Alben in vier Jahren sind der Beweis dafür. Dass ihre zischenden, rockigen Songs selten die Vier-Minuten-Marke überschreiten, ist ein weiterer Beweis dafür. Und sie machen einfach nur noch was ihnen wirklich Spass macht und deshalb vielleicht noch authentischer nach SILVERBACKS klingt als je zuvor. Wie sie im Schlusstrack des dritten Albums "Easy Being A Winner" singen: "You start to figure it out." Wie schon das 2020 erschienene, hochgelobte Debütalbum "Fad" und der 2022 erschienene Nachfolger "Archive Material" haben SILVERBACKS "Easy Being A Winner" mit Daniel Fox (GILLA BAND) in den Sonic Studios in Stoneybatter, Dublin, aufgenommen. Nach sieben Jahren in ihrer Karriere beschreibt das Sextett sein kommendes Album als das, wonach sie definitiv klingen, wie O'Kelly erklärt: "Jetzt, wo "Easy Being A Winner" herauskommt, habe ich das Gefühl, dass ich selbstbewusster sagen kann, wer wir sind. Wir sind Indie-Rock. Und dieses Album klingt noch mehr nach dem Indie-Rock, den ich mir vor all den Jahren für unsere Band vorgestellt habe." Das Ergebnis ist prächtig.

Als Band sind die sechsköpfigen SILVERBACKS aus Irland rastlos und begierig darauf, das nächste eigene große Ding in Angriff zu nehmen: Drei Alben in vier Jahren sind der Beweis dafür. Dass ihre zischenden, rockigen Songs selten die Vier-Minuten-Marke überschreiten, ist ein weiterer Beweis dafür. Und sie machen einfach nur noch was ihnen wirklich Spass macht und deshalb vielleicht noch authentischer nach SILVERBACKS klingt als je zuvor. Wie sie im Schlusstrack des dritten Albums "Easy Being A Winner" singen: "You start to figure it out." Wie schon das 2020 erschienene, hochgelobte Debütalbum "Fad" und der 2022 erschienene Nachfolger "Archive Material" haben SILVERBACKS "Easy Being A Winner" mit Daniel Fox (GILLA BAND) in den Sonic Studios in Stoneybatter, Dublin, aufgenommen. Nach sieben Jahren in ihrer Karriere beschreibt das Sextett sein kommendes Album als das, wonach sie definitiv klingen, wie O'Kelly erklärt: "Jetzt, wo "Easy Being A Winner" herauskommt, habe ich das Gefühl, dass ich selbstbewusster sagen kann, wer wir sind. Wir sind Indie-Rock. Und dieses Album klingt noch mehr nach dem Indie-Rock, den ich mir vor all den Jahren für unsere Band vorgestellt habe." Das Ergebnis ist prächtig.

Tonic is an American rock band, formed by Jeff Russo and Emerson Hart in 1993. Sugar is their second studio album, includes the charting singles "Knock Down Walls" and "You Wanted More".

It was released in 1999. The track "You Wanted More" was also included in the coming-of-age teen comedy American Pie.

Sugar is available on vinyl for the first time and includes an insert with song lyrics.

In partnership with Hollywood Records and Regency Enterprises, Waxwork Records is thrilled to present BARBARIAN Original Motion Picture Music by Anna Drubich. Barbarian is a 2022 American Horror film written and directed by Zach Cregger in his solo screen writing and directorial debut. The film stars Georgina Campbell, Bill Skarsgård, and Justin Long. The plot follows a woman finding out that the rental home she has reserved has been accidentally double-booked by a man, not knowing of a dark secret within the dwelling. Anna Drubich is an award-winning film composer from Moscow. Her diverse body of work includes live action features, animated features, television series, documentaries, and plays and concert halls across the world. Anna has score over 35 major film and TV projects including a co-score with Oscar-nominated composer Marco Beltrami on the Guillermo Del Toro adaptation of Scary Stories To Tell In The Dark, Netflix's hit feature Fear Street: 1994, the horror-comedy Werewolves Within, and more. Waxwork Records is proud to present BARBARIAN Original Motion Picture Music as a deluxe vinyl album featuring 180 gram "Mother's Milk & Blood" splatter colored vinyl, heavyweight gatefold jackets with matte satin coating and UV spot-gloss varnish, new artwork by Steven Reeves, and an 11"x11" art print insert!

4 tracks of filthy Acid Techno from Chris Liberator & Sam DFL, Sam DFL & Mass_Ive, Jamal, & Loczii 0n the second release on the SUF and Polands Acid
Addicts crew collaboration label JUNKYARD.

What does it mean to be perfectly blue? Perhaps it means swimming contently in the waters of deep, complex emotions, or simply learning to spin low moments into casual days. For Luka Seifert, who makes music as RIP Swirl, the idea of being fine with not being happy all the time was the catalyst for his second album, Perfectly Blue. The two words captured something: learning to embrace being blue, while using music as a way of processing emotions.

Víkingur Ólafsson hat seine weltumspannende Tournee mit Bachs Goldberg-Variationen gerade abgeschlossen
und schon bringt er sechs neue Interpretationen des Komponisten heraus, von denen er vier selber arrangiert hat. Die Klavierarrangements geistlicher Musik Bachs spielte er im Januar in Reykjavíks Konzerthalle
Harpa ein. Víkingur Ólafsson: „Wenn ich Bachs Werke spiele, wird mir bewusst, dass historische Epochen
in der Musik Konzepte sind, die wir auf etwas projizieren, das im Grunde ein Kontinuum ist: ein ununterbrochener Fluss, der uns alle verbindet, ein fließender Strom, der durch uns hindurchströmt – was die
Deutschen übrigens einen Bach nennen.“ Continuum ist Víkingur Ólafsson’s persönliches Bach-Tagebuch,
ein Dialog mit Bachs Musik und eine fortwährende Hommage an sein künstlerisches Schaffen.
Die EP ist als schwarze & Crystal Clear in 180g Vinyl erhältlich.

Víkingur Ólafsson hat seine weltumspannende Tournee mit Bachs Goldberg-Variationen gerade abgeschlossen
und schon bringt er sechs neue Interpretationen des Komponisten heraus, von denen er vier selber arrangiert hat. Die Klavierarrangements geistlicher Musik Bachs spielte er im Januar in Reykjavíks Konzerthalle
Harpa ein. Víkingur Ólafsson: „Wenn ich Bachs Werke spiele, wird mir bewusst, dass historische Epochen
in der Musik Konzepte sind, die wir auf etwas projizieren, das im Grunde ein Kontinuum ist: ein ununterbrochener Fluss, der uns alle verbindet, ein fließender Strom, der durch uns hindurchströmt – was die
Deutschen übrigens einen Bach nennen.“ Continuum ist Víkingur Ólafsson’s persönliches Bach-Tagebuch,
ein Dialog mit Bachs Musik und eine fortwährende Hommage an sein künstlerisches Schaffen.
Die EP ist als schwarze & Crystal Clear in 180g Vinyl erhältlich.

Eine unveröffentlichte, feurige Latin-Session des unvergessenen, 2018 verstorbenen Trompeters!
Kaum ein anderer Jazzmusiker beherrschte in den 1990er Jahren so sehr die Schlagzeilen wie der Trompeter
Roy Hargrove. Die New York Times bezeichnete ihn einmal als “einflussreichsten Trompeter seiner Generation”. Seine stilistische Vielfalt beeinflusste Musiker wie Kamasi Washington, Robert Glasper, D’Angelo,
Erykah Badu und andere.
1997 gründete er das Ensemble Roy Hargrove’s Crisol, das für sein Debütalbum “Habana” mit einem
Grammy ausgezeichnet wurde. Nur zwei Monate später ging Hargrove mit Crisol erneut in ein Studio auf
der Karibikinsel Guadeloupe, um ein Nachfolgealbum aufzunehmen, das dann aber nicht das Licht der Welt
erblickte.
Erst jetzt, sechs Jahre nach dem überraschenden Tod des Trompeters und zwei Tage nach seinem 55.
Geburtstag, erscheinen diese Aufnahmen bei Hargroves altem Label Verve unter dem Titel “Grande-Terre”.
Das Album zeigt Hargrove - der damals noch keine 30 Jahre alt war - im Zenit seines Könnens. Mal explodiert er auf seiner Trompete förmlich vor Energie und Feuer, dann wieder intoniert er auf dem Flügelhorn
schmachtende Boleros und Rumbas.

Psychoderelict wurde von Pete Townshend geschrieben und produziert. Einige Charaktere und Themen,
die in diesem Werk vorgestellt werden, wurden in Townshends späterem Werk The Boy Who Heard Music
weitergeführt, das erstmals auf dem elften Studioalbum Endless Wire (2006) der Who vorgestellt und dann
als Rockmusical adaptiert wurde.
Diese Version ist ohne Dialog und wurde zum ersten Mal auf Vinyl veröffentlicht.
Psychoderelict ist Townshends sechstes und bisher letztes Solo-Studioalbum.
Diese schwarze Vinylversion wurde von Miles Showell in den Abbey Road Studios mit einer Half-SpeedMastering-Technik erstellt, die einen hervorragenden Vinylschnitt erzeugt.

Wyatt Flores, is an American country music singer-songwriter and musician. EMI are please to announced his debut album Welcome To The Plains will be released in UK on 18th October. Flores told fans that the record will be released on October 18th and was inspired by his native Oklahoma and ultimate search for happiness. From stories about his life, family and many places he’s been, it is highly-anticipated by fans and was produced by Beau Bedford (Orville Peck, Shane Smith & The Saints). They recorded the songs between Los Angeles and Asheville, North Carolina (a pretty stark contrast), and the songs feature writers like Old Crow Medicine Show’s Ketch Secor and Aaron Raitiere, as Wyatt details the struggle of leaving his hometown of Stillwater and dealing with the highs and lows of life on the road as an up-and-coming musician.

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others.

From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio.

His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities.

Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class.

Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.