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Stephen Disario returns to his imprint Conundrum Records with his first release of the year, the Tawa EP. A fixture of the Los Angeles scene, Disario delivers three dark, percussive techno cuts that lean into tribal rhythms and hypnotic energy. Each track is a testament to his razor-sharp drum programming, immersive sound design, and cerebral atmospheres-hallmarks of his evolving sonic identity.

The EP also features a standout remix from rising Brazilian talent Marcal. His Hightimes rework blends dense, chugging grooves with eerie chimes and trance-like, spacey textures, offering a fresh, mind-bending take on the original.

Black Truffle is pleased to announce a new edition of Kassel Jaeger’s Fernweh, returning François J. Bonnet’s electroacoustic project to the label five years after the acclaimed Meith (BT069). Originally released on Giuseppe Ielasi and Jennifer Veillerobe’s impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet’s approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O’Malley and Jim O’Rourke.

A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title’s meaning is close to the concept of ‘Wanderlust’, fitting for this music that moves freely and unexpectedly between what Bonnet calls ‘climates’. Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Textures call up wind, water, insects, the crunch of feet on sand or the clinking of glasses, yet they can never be identified with any certainty. At times these concrete elements possess a vivid ‘closeness’; at others, the sounds shade into a formless distance. Though the listener forms no clear picture from the concrete sounds, these elements aerate the music, lending it their space.

Drawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition—with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar—the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous ‘scenes’, with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O’Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.

The Argentinian punk-noise-queer combo Blanco Tet ais back with a new album from the underground scene of Buenos Aires. La debacle de las divas is a raw, satiric and emotional album about capitalism"s obsession with youth, and the burnout of always having to keep yourself "new." It dives into the sounds of pop and rock, noise, no wave and even metal and grunge, and it"s a record for the working-class divas, the Flixbus divas - too broke, too tired, too late, but still loud. Recorded live in one room, no overdubs, no edits-just the urgent chaos of cables, bodies and feedback. It"s danceable, glitchy, and full of heartache and rage. Fuck meritocracy. Fuck techno-feudalism. This is survival music for the ones paying subscriptions to platforms that censor them. La debacle de las divas is a shelter and also a call to arms for outdated divas.

Chicago-based composer/producer Joey Meland makes music under the moniker Cocojoey. Treating genre conventions and ostensible barriers between disparate musical vocabularies like playthings to gleefully smash and reshape at will, Meland channels decades of experience as a polymathic professional musician adept in styles like metal, jazz, synthpop, and experimental sound design into their infinitely combinatory compositions. STARS, their first album on Hausu Mountain, follows the self-released COCOJOEY’S WORLD with a spellbinding burst of heart-on-sleeve self-expression. The album finds Cocojoey indulging their most adventurous impulses in production and technical instrumental performance, launching into a constantly morphing program that contrasts day-glo earworm hooks against cathartic moments of screaming intensity. Cocojoey’s music exudes warmth and finger-wagging mischief as it exhumes the depths of their psyche with the pure-hearted goal of making their audience smile — when those listening find a chance to breathe within the ecstatic overstimulation.

The album’s tightly constructed song cycle blasts the listener with moment after moment of novel juxtaposition, both in terms of genre and emotional energy, that keep us reeling in a state of delirious whiplash. Warp-speed piano solos over bossa nova-inflected chord progressions segue into detonations of death metal that front-load Meland’s ferocious screaming vocals and meticulously programmed double-kick drum patterns. A strain of iridescent prog emerges in the sheer overload of notes and ideas, as drum n’ bass breaks collide with labyrinthine multi-time signature keyboard lines and bright flashes of clean vocals. Despite whatever contrasting styles might hit within any given Cocojoey song, Meland returns again and again to the upheaval and release provided by extreme metal — though that idiom lands with joyful exuberance, an abrasive yet heartwarming flavor whose positive energy carries through even to those who might not encounter screams and hyper-technical drum breakdowns in their typical listening regimen.

After their 2022 LP 'Twelve Hymns To Syng Along', cult songwriter Mark ten Hoor, bass giant Peter Kroes, and drumming king of tape-hiss Arjan Spies - aka THE KRYNG - did what they do best: record more tunes at Studio Teepdek.

“Extremely highhgrade psych” (MOJO, 2024) “Immaculate sounding new psychedelia“ (Maggot Brain, 2024) “Alexander succeeds in capturing the post-psych grandeur that he’s aiming for while also creating one of his headiest offerings yet” (Raven Sings The Blues) “Psych lifer in a bloozy Americana mode. The whole thing hangs loose like a frayed rope tied to a river tube… essentially, a choogler’s dream.” (Viking’s Choice / NPR Music) “Plug in and space your face” (Aquarium Drunkard) Originally on Tape via Arrowhawk (please go check more releases on this wonderful label) - Now on Vinyl Presented in a high gloss laminated outer sleeve with artwork by Jake Blanchard - Both sets of art joining together to complete the picture. 36 minutes of sonic bliss for your ears and brain. Side 1 - Dark Star Side 2 - Dark Star (continued) "Jeffrey Alexander is a lifer. He has been flirting around the underground for the past thirty years - starting in Baltimore in the mid-90s and later percolating in Providence, Pittsburgh, San Francisco and, now, Philadelphia. Throughout this span, he has run various record labels, worked in a bunch of record shops, organized music festivals, managed live venues, FM deejayed, jammed econo, booked endless tours and performed in a gaggle of groups from Black Forest / Black Sea to Dire Wolves to Jackie-O Motherfucker to The Iditarod and points in-between. And now we have The Heavy Lidders. Jeffrey Alexander + The Heavy Lidders takes the freaked improvisation of Alexander’s instrumental band - DWLVS / Dire Wolves Just Exactly Perfect Sisters Band - into the world of song. Heady songwriting, ethereal jazz and Trad Gras-y blues stomps all feature. Backed by members of Elkhorn and Kohoutek. This vinyl (in 2 volumes) you hold in your hands is a collection of live Lidders that will surely wax your stem, and how! When Record Crates United invited JA+THL to perform at their inaugural garden party, not only did the Lidders show up with a one-off Live/Dead cover as a surprise gift for Keith and Sarah, but they rolled in with the Jesse Sheppard mobile multi-track truck, as well. Fucking pros, mate. Most of the material here was captured that sunny afternoon in suburban New Jersey - and thank the Godz that we have this plastic burner. I missed the set, but Kenneth Higney was there and gave it two thumbs up! I know them Lidders have a deluxe studio LP lined up for September, but til then, this little box will comfortably help you break on through. But don’t be fooled into thinking this is a mere EP. It’s SEVENTY SIX minutes of pure medicated goo. Now dose your capstan and pinch your roller. Shit is about to get Lidded." - Glen Burnout (on Sun Ra’s arrival day 2023)

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream nearly three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

The singer’s distinctive mezzo-soprano deliveries — the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels — resonate with full-range ardor and depth. As crucial as anything on the record, Morissette’s confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on “You Oughta Know” to Tom Petty & the Heartbreakers' co-founder Benmont Tench’s organ playing on six tracks.

The deluxe packaging of Mobile Fidelity’s Jagged Little Pill UD1S set underscores the work’s distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.

That script — which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction — hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute “You Learn,” the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.

Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant “Forgiven,” seeks recompense on the vengeful “You Oughta Know,” and spills her guts on the soul-purging “All I Really Want.” For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There’s the clever yearning of “Hand in My Pocket”; wry contrarianism of “Ironic”; kind-heartedness of “Hand over Feet”; the live-and-let-live spirit of “You Learn” – all positive and amiable.

Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her — and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

ROBOTRON vs. FREAKEDELIC are freakquencing some HIGHFREAKDELITY electro-nix on SKYNET CYBERSONIX – containing 3 freakalicious vocal-trax flavored with a bunch of lo-fied freakesizers. skynet T.5 freaks-out as a limited edition of 200 x 12″ – available on black or silver-marbled vinyl along with a numbered sheet and additional illustration by vocalizer ANNA W. – watch out for one of the 50 randomly packed posters!

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

Following the great success of BBE’s 2023 reissue of Remi Kabaka’s 1976 lost masterpiece 'Son of Africa' comes yet another neglected and hitherto-hidden slice of pure Kabaka goodness: 1980’s 'Roots Funkadelia'. While the 1976 album was recorded at Island Studios London, roots was recorded and mixed in L.A. in the midst of a golden period for the Motown studios, and the sheer quality of the mix shows in spades. An unexpected but welcome bonus is the appearance throughout of the ‘mean machine’- Motown artists the commodores’ brass section alter-ego. Released in 1980 on Polygram Nigeria with no international distribution deal, and lurking almost unnoticed in a handful of dedicated afro vinyl collections, this is the first-ever reissue outside Africa of an album that regularly fetches £500 plus on the ‘those who know’ market’.

Efficient Space charts Ghost Riders’ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.

In the late ’60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklyn’s wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.

Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7”s on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.

Dennis’ emotional maturity and sheer talent bleed into the defining ‘Summer’s Over’, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad ‘Running Thru My Mind’ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin’ Spoonful, and The Youngbloods.

Roaring like the Spencer Davis Group, Pure Madness’ organ-driven bruiser ‘Freedom Rides’ screams of biker gangs, yet its true subject - ’60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus ‘Treat Me Like a Man’ digs back into Edelson’s catalogue, covering the Beatles-inflected Levittown group The Shandels.

Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.

Co-produced by Lorde and Jim-E Stack, with contributions from Devonte Hynes (Blood Orange), Dan Nigro, Fabiana Palladino, Buddy Ross, and Andrew Aged, Virgin is the sound of Lorde returning to the beat-driven and raw lyricism that propelled Pure Heroine and Melodrama to commercial and critical success. Preceded by lead single ‘What Was That’ (which peaked at #1 on the US Spotify Chart), Virgin marks the return of a truly generational artist.

First Word Records are incredibly proud to bring you ‘I Swear To You’; the stunning sophomore album from Georgie Sweet.

Georgie is a singer / songwriter currently based in Brighton, with a uniquely smooth, soulful vocal tone.

Whilst working on her debut record (‘Misunderstood’), Georgie began a songwriting partnership with multi-instrumentalist Marc Rapson, who is on the boards throughout this project. The duo discovered a natural musical connection instantly, and began working on an abundance of beautiful new material shortly after the release of the first album; writing and creating at Rapson’s home in Hertfordshire at various sessions from 2021 onwards, culminating in this new 12-track album, ‘I Swear To You’.

Despite being one of the UK’s best kept secrets, Georgie’s already been pricking the ears of some highly-respected selectors. The first single from this record (‘Smaller / All That We Were’) received love from tastemakers such as BBC 6 Music's Gilles Peterson (“this one melts”), Jazz FM's Tony Minvielle ("supremely talented”) and Clash Magazine (“exudes soulful grace”), whilst previous material found itself in the crates of legendary luminaries like DJ Jazzy Jeff & DJ Spinna amongst others.

At the end of 2024, Georgie signed to Worldwide Award-winning independent London-based label, First Word Records; although she previously featured before on the label, via the title track of the highly-acclaimed 2021 sophomore album by Children of Zeus, 'Balance', along with Akemi Fox. Prior to this her debut album 'Misunderstood' dropped back in 2020 on Futuristica Music; an independent imprint run by Deborah Jordan & Simon S, on which Georgie also collaborated with acclaimed producers like K15 and Mecca:83.

An all-round creative soul, away from creating music, Georgie also works as an illustrator and animator. However, her lifelong love of music is unquestionable. She’s been a vocalist from a young age, initially working with her musical parents (a producer and professional singer respectively).

With a hugely diverse set of inspirations ranging from Stevie Wonder to Michael McDonald, Hiatus Kaiyote to Chappell Roan, Mac Miller to Sampha, and George Duke to EW&F, Georgie's respect, love and admiration for a wide range of music is clear; from jazz to soul to pop to hip hop.

“We go through life. We shed our skins. We become ourselves.”

This line from Patti Smith was going round and round Felix Manuel’s head as he gradually constructed Under Tangled Silence, his first album in six years and a record of a literal creative rebirth. Felix originally began it in earnest in 2020 Covid lockdown, but a catastrophic hard-drive meltdown destroyed almost all his work and sent him close to psychic collapse himself. However, ultimately this pushed him to rebuild from scratch and in so doing to confront and reassess every part of his musical and psychological processes.

The result is utterly extraordinary. Felix was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as pianist, harpist and more. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.”

But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ. Even just in the opening track “A Tune for Us”, minimalist piano ripples and jazz drumming flow into the breaks of vintage jungle – and as the structure of the LP unfolds, a deep ambient meditation like “Hold” can sit very naturally in between the futurist dancehall of “L’Ancienne” and the high-definition acid house mind movie of “Galaxy in Silence”. In fact, as with the hands-on musicianship, that gutsy big-speaker electronic impact is delivered with more certainty, more expertise, more personal flourishes than ever. And all of those elements are more integrated than ever too: the sound of a total musical personality emerging afresh is truly something to behold. An already remarkable talent has been refreshed, reborn and is making the music of his life.

Special new 25th anniversary edition of this most popular and highly-acclaimed of all Soul Jazz Records' Dynamite! series - 300% Dynamite is jam-packed with reggae tunes that crossed-over to become dancefloor hits and are 100% guaranteed to rock any party!

Out of print for the last 15 years, this new edition is being released in a one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing + download code exclusively for Record Store Day 2024. This album is fully remastered, relicensed and with new tracks exclusively for RSD 24. Wayne Smith's booming anthem "Sleng Teng", Althea & Donna's worldwide hit 'Uptown Top Ranking', Sister Nancy's classic "Bam Bam", Augustus Pablo, Lee Perry - it's all here as 300% Dynamite joins the dots between reggae, jazz, funk, dub and soul.

The British Gambian rapper chronicles his cellblock daydreams on family, freedom, and feeling alien in the UK while hinting at a new blueprint for pan-African pop.

The Spanish Queen (of the Piano)

She had small, square hands. She was 1.52 m tall. As a child, she banged her head on the floor to be allowed to play the piano. She was Catalan. She was a pianist—one of the greatest. Her mission? To spread the Spanish repertoire. Her name was Alicia de Larrocha.

When she passed away in 2009 at age 89, Nelson Freire wrote, "I truly loved her; she was a modest woman, and her playing shone like the sun." Acclaimed worldwide, she stood alongside Victoria de Los Angeles as one of Spain’s finest artists.

Larrocha’s journey began at three, seated at a piano. At four, she studied under Frank Marshall, a student of Granados. By six, she was performing publicly; by eleven, she played Mozart’s Coronation Concerto with Madrid’s Symphony Orchestra, astonishing audiences. Despite her small hands, she developed an airy, precise touch, even daring to record Rachmaninov’s Third Concerto. But beyond technical mastery, her playing held a profound sense of life and imagination.

Though trained in Bach, Mozart, and Chopin, Larrocha fought to bring Spanish composers to global audiences. Albéniz and Granados owe much of their fame to her. Her international breakthrough came in the 1950s when an American impresario heard her Spanish recordings and invited her to the U.S., where she triumphed.

Her performances honored Spain’s musical heritage. From Soler’s sonatas to Granados' Goyescas, she infused each note with nuance. She brought Goya’s paintings to life in El Pelele and mastered the dark contrasts of Surinach’s Canción y Danza. Albéniz’s Iberia demanded both power and delicacy—qualities she commanded effortlessly.

Her final tribute was to her friend Francis Poulenc, performing his Toccata—a soaring farewell.

As one admirer put it in 1982, "She walked toward a piano too big for her, sat, placed her hands on the keys… and became the queen."

Alicia De Larrocha, Piano

Santana Bridges the Divide Between Live and Studio Material on Moonflower: 1977 Double Album Features Extraordinary Performances, Soulful Vibes, and Dynamic Mix of Latin, Rock, Funk, and Blues
Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Audiophile-Quality Detail, Balance, and Imaging
1/4” / 15 IPS original analogue non-Dolby master to DSD 256 to analogue console to lathe



Though it may seem strange now, Moonflower stood for nearly 15 years as Santana’s first and only live record released in the United States. This despite the fact that roughly half of the double album consists of new studio songs, including a zesty cover of the Zombies classic “She’s Not There” that reached the Top 30 of the singles charts.

However unconventional, the “split” strategy went over like gangbusters. Moonflower reached the Top 10 of the Billboard Top 200 and achieved double-platinum status — feats the group would not again replicate for 22 years. These, and the beautiful quality of the program itself, are among the reasons why the 1977 effort remains viewed by critics and fans alike as must-have Santana.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM 2LP set of Moonflower presents the record in audiophile sound for the first time on a domestic reissue. Part of the MoFi’s Santana catalog restoration series, this collectible version features quiet surfaces and black backgrounds that expose the critical details, liquid tones, and dynamic interplay central to Santana’s music.

The enhanced sonics extend not only to Carlos Santana’s six-string wizardry, but to the rhythmic, melodic, and vocal elements that course throughout both the studio and live cuts on Moonflower. The grip and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the extension and weight of the low-end frequencies; the rich textures of the guitars, percussive devices, and keyboards: all appear amid wide, balanced soundstages and image with right-sized dimensionality.

Significantly rooted in the styles and approaches that inform the group’s first three records, Moonflower captures the final appearances of iconic percussionist Jose “Chepito” Areas and go-to keyboardist Tom Coster on a Santana album. As he did during the preceding five-year stretch, Coster inhabits a large role here, sharing songwriting credits on a majority of the new cuts and helping steer the arrangements toward spiritually minded albeit concise directions that encompass vibrant Latin, rock, and blues themes that began to escape the ensemble shortly after his departure.

Close your eyes and feel the warmth of the sun on the R&B-kissed “I’ll Be Waiting,” anchored by Carlos Santana’s gliding fretwork and Greg Walker’s creamy vocals. Enter the cosmic universe of “Zulu,” on which Coster’s nimble phrasing opens the gate to polyrhythmic beats, knotty grooves, and interlocking funk. Grab the album cover and drift off to paradise amid the equally evocative “Flor d’Luna (Moonflower),” a romantic slow dance that Carlos Santana ensures tiptoes en route to its blissful destination. Channeling a different spirit animal, the guitarist later lets loose on the hard-hitting “El Morocco,” on which he seemingly engages in a shootout with himself and wades into the rippling psychedelia that elevated the band’s early material.

Speaking of the past, Moonflower triumphs on that level as well. In more ways than one, the live selections — and the caliber of the performances — chosen for inclusion represent an abbreviated greatest-hits survey of the band up to that point. And, at the very least, a convincing argument about why Santana had progressed into one of the most formidable bands you could hope to see on a stage in the mid ‘70s.

Simultaneously representative and illustrative of the group’s breadth, tracks stem from the collective’s eponymous debut, Abraxas, and Santana III as well as the then-more recent Amigos and Festival. Whether you fall for the sidewinding spell of a spicy rendition of “Black Magic Woman/Gypsy Queen,” lose your head to the positively epic momentum of “Soul Sacrifice/Head, Hands & Feet,” or keep dropping the needle on the savory grace of the brilliant reading of “Europa (Earth’s Cry Heaven’s Smile),” this pressing of Moonflower puts you — and Santana’s first-chapter legacy — in good hands.

There are imagined landscapes we all carry within us—dreamed,
half-remembered, or just beyond reach. Lofoten, the new album by
Cate Francesca Brooks on Clay Pipe Music, is a musical reflection on one such place.
Located above the Arctic Circle, Norway's Lofoten Islands are known for their dramatic peaks, open seascapes, and distinctive red fishing cabins dotting the shoreline. Though Brooks has never visited this remote northern region, it became an unexpected source of inspiration.
The project began when Cate listened to a narrated "sleep story" set in the islands. Intrigued, she researched the region and found herself drawn to its stark beauty."I fell in love with creating an impression of somewhere I would probably never visit, but felt a real affinity with," she explains.
This ambitious album translates that connection into sound. Through carefully crafted electronics, melodic themes, richly layered textures and big production, Brooks captures the essence of Lofoten—its icy light, vast horizons, and profound quiet."The other thing that happened around the same time was the first lockdown here in the UK. I had taken the opportunity of having some extra time to learn a new (to me) method of synthesis; that of the Synclavier, which uses one aluminium wheel and an array of buttons to control every parameter of the sound.
"I took to it with intrigue and before I knew it, I had built up hundreds of original sounds, many of which were perfect for the textures I could hear in my head for Lofoten. So that (along with a Prophet synth and a TR-808) became the sound world." Lofoten stands as an evocative testament to how music can transport us to distant places, transforming geographical limitations into imagined creative possibilities.

Etta James’ second album leans more toward pop than the fiery soul she’s known for, with lush orchestration by Riley Hampton and a repertoire of ’40s standards. Yet, her powerhouse vocals shine, proving she could master any style. R&B still makes its mark, with the Berry Gordy-penned Seven Day Fool stealing the show, alongside Don’t Cry Baby and Fool That I Am, both charting crossover hits.

Novoa/Kamaguchi/Cleaver Trio Delivers Electrifying Second Volume
A Bold, Experimental Fusion of Density and Dialogue

"The wait is over. If you’ve been holding your breath since hearing Novoa/Kamaguchi/Cleaver Trio, Vol. 1, it is time to let it out. Vol. 2 is almost here! The group has returned to 577 Records once more, serving a heaping second helping of addictive musical brilliance that comes out in May.

Even The Wire magazine celebrated the trio's first album, calling it “a deep and thoughtful release” – and Vol. 2 is no different. Eva Novoa is the Barcelona-born pianist/composer taking the world by storm with her creativity and talent. And she is back to wow us again on the piano, Fender Rhodes, Chinese gongs, and a little whistling.

To complete the trio, she chose her longtime comrade and collaborator of some fifteen years, bassist Masa Kamaguchi, and Detroit drum wizard Gerald Cleaver. The group has performed live in NYC since 2017. They made their first record (Vol. 1) with 577 Records in 2024. Their highly anticipated Vol. 2 marks Eva's fourth album with the label.

In their upcoming release, Novoa steers the trio through elegant experimentation of its full potential, confidently grasping golden threads from great masters of music to shape her own melodic universe. The multi-instrumentalist says it’s where melodic density meets contrapuntal dialogue, a free interplay of rich textures and riveting, masterly improvisation. This smooth complexity is what gives rise to the group’s uniqueness.

Like Vol. 1, the album cover art features the work of Novoa’s friend and collaborator, popular street photographer Richard Sandler."

Eva Novoa - Piano, Fender Rhodes, Chinese Gongs & Whistling.
Masa Kamaguchi - Bass.
Gerald Cleaver - Drums.

Recorded on January 19, 2020 at Oktaven Audio, Mount Vernon, NY by Jeremy Loucas.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

HUGE CONGRATULATIONS TO MOXIE AND THE LOVE INTERNATIONAL X TEST PRESSING TEAM FOR WINNING THE BEST COMPILATION IN THE DJ MAG BEST OF BRITISH AWARDS 2025


“I feel really chuffed as a lot of work went into building this compilation,” beams Moxie, when we congratulate her on the award. “I also worked alongside a great team, including Dave Harvey, Ellie Stokes, Chez de Milo and everyone at Prime Distribution. I’d been manifesting working on a project like this for years, so when it all came together I was so happy with it. But to have recognition from the DJ Mag public vote is the cherry on the cake.”


Few artists have shaped their local scene quite like Alice Moxom under her celebrated Moxie alias. A born-and-bred Londoner, Moxie is a dance music powerhouse whose influence runs deep—from the grassroots to global stages. Her trajectory spans early teenage years digging for garage records, to dubstep sets at legendary club nights, to running her long-standing and beloved NTS Radio residency. For over a decade, she’s been a midweek staple on NTS, championing deep house, Detroit techno, and all things dubby, groovy, and percussive, while regularly platforming artists through guest mixes and interviews with icons like Jeff Mills, Four Tet, and Or:la.

Her latest endeavor, the Love International compilation, brings that wealth of experience to life. 'I’d secretly been manifesting this for a while,' Moxie admits. 'Love International has such a specific energy, and I wanted the compilation to reflect that—dubby, fun, euphoric, deep. It’s all the styles of music I love, pulled together in harmony. Being at Love International always feels like coming home. Whether it’s dancing in Barbarellas or sharing a smile with a stranger on the dancefloor, there’s this sense of unity that’s hard to describe. That’s why I chose ‘U Skladu’ for the sleeve—because that’s what it feels like: in harmony.'

Official vinyl reissue of 1978 classic hard rock album featuring the fantastic power trio of Burke Shelley, Tony Bourge, and Steve Williams.

Hard words inna hard world... but sweet music !

New Traditions is a collection of pipe music, electronic music, mouth music and folk music from five emerging and prominent Scottish artists.

It started in Sutherland with a recording of The Waters of Kylesku. “Do you learn any Gaelic at the school?” asks Hamish Henderson of Christine Stewart. “No,” she answers. “That’s a shame,” he responds, “Isn’t it?” she says. Then she sings. Her voice is of the peat itself, grown from the earth as the language was. It soars raptor-like above drenched ground and scoured pink rock.

Next, to Nancy Dorian, a linguistic missionary of sorts, who came from America to watch a language die. She charted the decline of Gaelic in a cluster of Sutherland villages from 1963 to 2020 when the terminal native speaker passed. Gaelic has origins in nature, with each letter of the alphabet named after a tree. It seems significant that the land of the north is now all-but devoid of forest.

Enter Alan Lomax, who travelled the world documenting indigenous music. Material from his archives feature on (fucking) Moby’s platinum selling Play. Despite the record’s worldwide commercial success we know very little of the music he essentially exploited.

Then musician Martyn Bennett, who built tracks around Lomax recordings of Scots and Gaelic voices, and did so with love that shared his blood with the cancer that killed him. His records both popularised and preserved obscure indigenous Scottish music.

This collection of tunes has similar intent: to consolidate ephemeral words in physical grooves - real as the rigs that still scar the earth - but also a desire to interpret. These versions have the greatest reverence for the originals at heart, but like the architecture of a great gallery, serve to protect and elevate.

VERY LIMITED 2025 REPRESS ON BEAM OF LIGHT VINYL .

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

Smut - die Band aus Chicago, bestehend aus Sängerin/Texterin Tay Roebuck, Gitarrist Andie Min, Bassist John Steiner, Gitarrist Sam Ruschman und Schlagzeuger Aidan O'Connor - hat neue Energie getankt und sich auf das grenzenlose Potenzial besonnen, das entsteht, wenn man mit Menschen, die man liebt, Musik macht. In neuer Besetzung - "Tomorrow Comes Crashing" ist das erste Album von Smut mit O'Connor und Steiner - konzentrierten sich Smut darauf, die großen Gefühle einzufangen, die entstehen, wenn man sich zum ersten Mal in Musik verliebt. Das Ergebnis sind zehn intensive und bombastische Songs. Roebuck, Ruschman und Min gründeten die Band ein Jahrzehnt zuvor in Cincinnati, Ohio. Nach Jahren in der DIY-Szene von Cincinnati nahmen sie ihr Debütalbum "How the Light Felt" auf, das eine Offenbarung war. Pitchfork beschrieb es als "eine rigorose, Jahrzehnte umspannende Studie" und eine "gut geölte Drehung des Gitarrenpops der späten 80er". Under the Radar nannte es "Pop-Perfektion", die "subtile Haken mit wehmütigen Texten verbindet". "Tomorrow Comes Crashing" zeigt die Band mit neuem Elan. Der Song "Syd Sweeney", inspiriert von der Schauspielerin, ist das Herzstück der Platte. Es handelt davon, wie seltsam es sein kann, eine Frau zu sein und von Leuten missverstanden zu werden, die einen nicht einmal kennen. Der Song wird von tuckernden Gitarren und großen, rollenden Trommeln angetrieben. Mit anderen Worten: Stadionrock über Wahrnehmung. Paramore trifft "Dookie". "She connects to the youth and the girls in the water/All she amounts to is someone's daughter", singt Roebuck in einem besonders poetischen Moment. Der Song endet in einem Thrash-Metal-inspirierten Breakdown. Es ist ekstatisch. Um die Platte zu machen, nahmen Smut "so live wie möglich" zusammen mit Aron Kobayashi-Ritch (Momma) in einem Studio in Red Hook, Brooklyn, in zehn Tagen auf. Kurz bevor sie nach New York aufbrachen, heirateten Roebuck und Min, wobei der Rest der Band an ihrer Seite war. Die Aufnahmen waren ein wahrer Kraftakt: Sie fuhren mit ihrer gesamten Ausrüstung von Chicago nach Brooklyn, schliefen nach 12-stündigen Studiotagen auf den Sofas und Böden von Freunden, und am Ende war Roebucks Stimme völlig durch. Smut war schon immer ein DIY-Projekt. Weil sie es lieben und genau so tun müssen. "Tomorrow Comes Crashing" ist der Höhepunkt dieses DIY-Gedankens: eine Platte zu machen, die die Intensität, die Launenhaftigkeit und die Emotionen ihrer bisherigen Reise vollständig einfängt.

Smut - die Band aus Chicago, bestehend aus Sängerin/Texterin Tay Roebuck, Gitarrist Andie Min, Bassist John Steiner, Gitarrist Sam Ruschman und Schlagzeuger Aidan O'Connor - hat neue Energie getankt und sich auf das grenzenlose Potenzial besonnen, das entsteht, wenn man mit Menschen, die man liebt, Musik macht. In neuer Besetzung - "Tomorrow Comes Crashing" ist das erste Album von Smut mit O'Connor und Steiner - konzentrierten sich Smut darauf, die großen Gefühle einzufangen, die entstehen, wenn man sich zum ersten Mal in Musik verliebt. Das Ergebnis sind zehn intensive und bombastische Songs. Roebuck, Ruschman und Min gründeten die Band ein Jahrzehnt zuvor in Cincinnati, Ohio. Nach Jahren in der DIY-Szene von Cincinnati nahmen sie ihr Debütalbum "How the Light Felt" auf, das eine Offenbarung war. Pitchfork beschrieb es als "eine rigorose, Jahrzehnte umspannende Studie" und eine "gut geölte Drehung des Gitarrenpops der späten 80er". Under the Radar nannte es "Pop-Perfektion", die "subtile Haken mit wehmütigen Texten verbindet". "Tomorrow Comes Crashing" zeigt die Band mit neuem Elan. Der Song "Syd Sweeney", inspiriert von der Schauspielerin, ist das Herzstück der Platte. Es handelt davon, wie seltsam es sein kann, eine Frau zu sein und von Leuten missverstanden zu werden, die einen nicht einmal kennen. Der Song wird von tuckernden Gitarren und großen, rollenden Trommeln angetrieben. Mit anderen Worten: Stadionrock über Wahrnehmung. Paramore trifft "Dookie". "She connects to the youth and the girls in the water/All she amounts to is someone's daughter", singt Roebuck in einem besonders poetischen Moment. Der Song endet in einem Thrash-Metal-inspirierten Breakdown. Es ist ekstatisch. Um die Platte zu machen, nahmen Smut "so live wie möglich" zusammen mit Aron Kobayashi-Ritch (Momma) in einem Studio in Red Hook, Brooklyn, in zehn Tagen auf. Kurz bevor sie nach New York aufbrachen, heirateten Roebuck und Min, wobei der Rest der Band an ihrer Seite war. Die Aufnahmen waren ein wahrer Kraftakt: Sie fuhren mit ihrer gesamten Ausrüstung von Chicago nach Brooklyn, schliefen nach 12-stündigen Studiotagen auf den Sofas und Böden von Freunden, und am Ende war Roebucks Stimme völlig durch. Smut war schon immer ein DIY-Projekt. Weil sie es lieben und genau so tun müssen. "Tomorrow Comes Crashing" ist der Höhepunkt dieses DIY-Gedankens: eine Platte zu machen, die die Intensität, die Launenhaftigkeit und die Emotionen ihrer bisherigen Reise vollständig einfängt.

Sherlock Hound is the animated series from the masterpiece directed by Hayao Miyazaki and coproduced by TMS Entertainment and RAI, wich was broadcasted for the first time in 1984. The series was a success and remains to this day one a beloved classic in the world of Japanese animation.


To celebrate the recent 40th anniversary of the series, we are pleased to offer this sublime edition with its 2 discs gathering the soundtracks from the TV series and for the initial animated film (The Blue Ruby & Underwater Treasure), completed by a 8-page booklet, illustrated with beautiful artworks.


The soundtrack to the animated series was composed by Kentarô Haneda (well known for his work on the Space Adventure Cobra series) and includes the two signature songs performed by Da Capo. The anime film soundtrack is the work of Kunio Muramatsu, and also includes two songs performed by Haruko Kuwana. Immerse yourself in the fascinating atmosphere of this cult 80s anime!

High Roller Records, reissue 2025, red/ blue galaxy effect vinyl, ltd 500, 425gsm heavy cardboard cover, poster, A5 promo photo, lyric sheet, mastered by Patrick W. Engel at Temple of Disharmony

High Roller Records, golden/ red galaxy effect vinyl, ltd 500, 2 bonus tracks (Mrs. Victoria + Lucifer's Hammer), 425gsm heavy cardboard cover, lyric sheet, poster, A5 photocard, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Wewantsounds is delighted to reissue another Warda classic from the 70s, We Malo, originally recorded in 1975 by the legendary Arabic Diva who has sampled by Jay-Z and J Dilla. The album blends traditional Arabic music with 1970s grooves, showcasing Warda's distinct vocal style. She is accompanied by a full-sized orchestra, updating the classy traditional sound with modern instruments (electric guitar, organ). We Malo was penned by composer Baligh Hamdi. This reissue features newly remastered audio, original cassette artwork and a two-page insert with a new introduction by Mario Choueiry from the Institut du Monde Arabe

Atlantic Records is thrilled to announce F1 The Album - the supercharged companion album to Apple Original Films and Warner Bros. Pictures’ high-octane, action-packed film F1, starring Brad Pitt. From the label that brought you the award-winning, blockbuster soundtracks Barbie The Album, Twisters: The Album, The Greatest Showman, Suicide Squad and more, F1 The Album is driven by brand new tracks from an exhilirating lineup of superstar artists.

The Bluebells' Sisters is a perfect snapshot of early '80s "Sound of Young Scotland": Glasgow indie pop with bittersweet spirit, sharp hooks, and heartfelt harmonies. Signing to the then-nascent London Records, and working with a procession of esteemed producers (including Elvis Costello who became a mentor and teacher to the band), The Bluebells enjoyed three UK hits in the 1980s ('Cath', 'Young at Heart' and 'I'm Falling') before touring widely throughout Europe and North America, developing their live sound and signing to Seymour Stein's Sire Records in the U.S.

A decade later in 1993 that 'Young at Heart' hit the U.K. No 1 spot following its use as a T.V. advert for Volkswagen. Fast forward to this decade The Bluebells have reformed with a flurry of shows across the past two years including a triumphant return to Glasgow at Barrowlands for Celtic Connects, and just announced for the Acoustic Stage for Glastonbury Festival 2025.

This new edition of Sisters has been remastered and produced in consultation with the band, using the best audio sources available, including non-album singles and B-sides, bonus tracks from the original cassette edition and new liner notes from Will Hodgkinson.