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2LP Gatefold (featuring liner notes). Limited Edition. Artwork by Meeuw.

A collection of personal recordings made on various synthesisers between 1989 and 2017, by Telesoniek Atelier. Huge Tip on this one!

Early feedback:

"Fascinating improvs. I loved 'Gruesse'. " Suzanne Ciani (Atmospheric)

"Beautiful music with real subtlety and depth” Anthony Child (Surgeon, Transcendence Orchestra)

"Lovely, pure synth music." Mark Pritchard (Warp Records)

"Chateuroux is mighty... A proper zoner. Flung on earth." John T. Gast

"This is a great release by Telesoniek Atelier - a musician unknown to me before now. I've been thoroughly enjoying playing this double vinyl release since i got it. Both discs are filled with amazing music that moves between abstract electronic experiments to melodic, DMT bent sounding, classical contemporary music and futuristic soundtracks from non-existing Sci Fi movies you'll wish you could see. It time-warps you from here to there then freezes the moment. It all sounds like its been taken straight from the ancient room .. you know, that one where the spirits of the great teachers live. This is very focused, unpretentious and highly emotive music . A wonderful and dreamy sound garden coming from what I imagine to be a beautiful mind . These discs will be camping out on my turntables for a while."
Tako Reyenga (Music From Memory)

"A deep sense of the symphonic permeates this record. While synthesizers form the basis of its sound, Hans Kulk shapes their timbre into uncanny acoustics and weaves them together like an orchestra. Just when you think you have understood what is happening, another layer reveals itself. Yet it keeps a floating sense of lightness throughout. A truly rewarding listening experience."
Hainbach

For an artist whose career is flush with enigma, myth, and disguise, Nashville Skyline still surprises more than almost any other Bob Dylan move more than four decades after its original release. Distinguished from every other Dylan album by virtue of the smooth vocal performances and simple ease, the 1969 record witnesses the icon's full-on foray into country and trailblazing of the country-rock movement that followed. Cozy, charming, and warm, the rustic set remains for many hardcore fans the Bard's most enjoyable effort. And most inimitable. The result of quitting smoking, Dylan's voice is in pristine shape, nearly unidentifiable from the nasal wheeze and folk accents displayed on prior records.

Mastered on our world-renowned mastering system and pressed at RTI, this restored 45RPM analog version zeroes in on the shocking purity and never-again-replicated croon of Dylan's vocals. Enhanced, too, are the images associated with the calmly strummed and picked acoustic guitars and decay connected to the fading notes. The dimensions and ambience of the Columbia studio translate via subtle echoes and natural blend of instruments melding with one another, akin to honey integrating with tea. Providing comparably soothing effects, relaxing vibes pour forth from this reissue, which affords this masterpiece the fidelity it's always deserved. Wider grooves mean more information reaches your ears.

"Is it rolling, Bob?," Dylan famously queries producer Bob Johnston at the beginning of "To Be Alone With You," indicating the laissez-faire feelings that surrounded the sessions and helped yield the laidback, convivial music defining the album – arguably the most unique in the artist's vast catalog. While he dipped his toes into country waters on the preceding John Wesley Harding, Nashville Skyline throws its collective arms around the style in bear-hug fashion and drops any obvious folk references. Everything from the songs' moods to the amicable arrangements reacts against the era's turmoil and popular sounds.

This beautiful and beautifully executed effort might stand as Dylan's most effective protest ever, even if many missed the point upon original release. Advocating peace, love, and old-world allure without calling attention to any characteristic in an overly forward manner, Dylan frames the songs as ballads, rags, lullabies, and gentle honky-tonk dances. He adheres to expeditious brevity, keeping the arrangements tight and free of any filler, thus allowing the melodies to immediately work their magic and place hummable memories inside listeners' heads.

Indeed, if any Dylan masterpiece is overlooked, it's Nashville Skyline. In addition to his superb singing and infallible songs, Dylan enjoys backing from a crackerjack assembly of Nashville session musicians including Charlie Daniels, Marshall Grant, W.S. Holland, Charlie McCoy, Ken Buttrey, and Norman Blake. Country pros, and their respective performances, don't come any better.

As much as on any of his records, Dylan resides in a good place, mentally and emotionally. The idyllic, warmhearted environs of Nashville Skyline stand apart now just as they did in the late 1960s. The sincerity conveyed on the inviting "Lay Lady Lay," relief sighed on the romantic "Tonight I'll Be Staying Here With You," and unlimited promise expressed on the jittery "To Be Alone With You" parallel the lessons-learned yearning and genuine desire found on "One More Night," bracing "I Threw It All Away," and eternal "Girl From the North Country," performed to perfection with Johnny Cash.

John Ondolo spent his life traveling between Tanzania, where he was born, and Kenya, where he recorded a string of singles for independent labels in the late 1950s and early 60s. Unlike most guitarists from the region, Ondolo used open tuning (a favorite of American blues guitarists), creating a hypnotic drone over which he laid down endless rhythmic variations on his main themes. Inspired by the exploding pop music scene in Nairobi, the newest rock and roll imports from the US, and the Abakuria tribal music of his youth, Ondolo transposed traditional instruments and rhythms to his guitar, playing it more like a traditional harp at times, and inventing a sound totally unique in the recorded history of African guitar. This album brings together John Ondolo's rare early 78rpm recordings in the first-ever overview of this innovative but overlooked artist. The music traces Ondolo's creative output, from the resonant acoustic guitar masterpiece Tumshukuru Mungu to the relentless guitar and flute (!) interplay of Kenya Style to his later electric guitar, bass, and drum recordings with the Jolly Trio, all tied together by Ondolo's unique rhythmic sense and vocal style. The breadth and variety of Ondolo's recordings may be a result of his sporadic recording history. Unlike more famous artists, Ondolo wasn't sucked into the Nairobi nightlife scene of the early 60s, instead traveling from his farm in the foothills of Kilimanjaro on occasion to record. An outsider and devout Catholic whose music was sometimes at odds with the style of the times, he later left music entirely, shifting to film and driving a mobile cinema van for the Tanzanian government, introducing socialist and Pan-African films to the countryside. An accident in his mobile cinema led to the loss of his left arm, though he continued his travels. He died in 2008 in Dar Es Salaam, leaving behind two wives and 11 children. Over a decade in the works, Hypnotic Guitar of_ includes an insert with lyrics and translations, as well as notes by Tanzanian musician and historian John Kitime. Expertly restored and mastered by Michael Keiffer and pressed on 160gm black vinyl at Smashed Plastic in Chicago. Licensed from the Ondolo family in Tanzania.

For Fans Of… Dr. John, Allen Toussaint, The Faces, Joe Cocker, Leon Russell, Buddy Miles, The Meters, Father John Misty. "I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living - consumed by drugs, alcohol, and addiction - such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n' roll. There is a deep connection between Francis's childhood - his obsession with boogie woogie piano, his father's gift of a dusty Dr. John LP - and the songs he's created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock 'n' roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: "It's the life I've lived so far." After playing his first live show in November 2018, Francis was signed by veteran agents Joshua Knight and Phil Egenthal of Paradigm Talent Agency. 2019 brought a North American tour supporting Australian band The Cat Empire as well as radio play on KEXP, KCRW's The Morning Becomes Eclectic, and BBC Radio 6. Francis and his four-piece band performed at festivals such as Summer Camp and the New Orleans Jazz & Heritage Festival and shared the stage with The Meters and Lee Fields & The Expressions. Francis continues to tour relentlessly to promote his own music. "I'm doing this to fulfill a drive within myself, but also to pay tribute to the gifts I've been given. And it comes from a place of immense gratitude. I've been given so much in my life, especially in the last two years, that this feels like a bonus." Also Available From Neal Francis: These Are The Days 7”.

British soul royalty John Turrell's classic debut solo album 'The Kingmaker' is given a much-deserved release on a limited edition yellow vinyl LP. Delivering eleven stunning raw vocal performances on emotionally searing tracks, Turrell manages to span upbeat northern soul jaunts, downtempo bluesy groovers and emotive ballads in a cohesive collection that never ceases to treat the listener.

Created with writing partner and producer Nick Faber as a reflection and meditation on the ebb and flow of a normal man's life, authenticity and relatability are two key characteristics of the writing style on this record. While it is an album that references a diverse set of influences there is an unmistakable soul and blues sensibility that courses throughout the tracks. There are the same recognisable soaring vocals and heartfelt lyricism from the 'Smoove & Turrell' frontman that long term fans are used to (Smoove even lent a helping hand with engineering duties on the record) however this is undoubtedly a case of John running his own show.

LIMITED NEON YELLOW LP with gatefold insert and digital download card.

A sonic-minded power trio of obsessive, biting riffs and mists of asymmetrical sonic cycles. Inspired as much by French chamber music of the 19th century as by Jim O'Rourke or Moondog, Under The Reefs Orchestra's hypnotic music unleashes a cosmic energy and leads the listener to a trance among underwater volcanos. Guitarist Clement Nourry's gentlemanly demeanor masks the great fiery passion of a true musical virtuoso. "I focus on one thing, and one thing entirely" says Nourry. For him, that one thing is the guitar. Combining the deep theoretically understanding of a skilled mathematician (which he actually is) with a true musician's soulful instinct, Nourry is as comfortable with John Fahey as he is with experimental jazz. To put it simply: he shreds. This trip through the timeless realms of sound can be heard as a soundtrack of the ecological apocalypse we live in. Genry/Style: Post Jazz, Post Rock, Experimental - For those who like Moondog, Comet is coming, Yonatan Gat, ADHD, Kamasi Washington, E. Morricone, Talk Talk (Spirit of Eden), Ryuishi Sakamoto...

Limited Edition of 1,500 on Transparent Red Vinyl. The debut album from 19-year-old artist Sofia Mills, Baby Magic intimately details the most pivotal moments in her coming-of-age experience: breakups with toxic boyfriends, coming out as queer at age 16, a longtime struggle with mental illness. As shown on her breakthrough single "Coffee Breath" (a self-produced track that's amassed over 100 million streams on Spotify to date), the Massachusetts-born singer/songwriter/multi-instrumentalist imbues her storytelling with both startling clarity and profound sensitivity, an element echoed in her warmly textured brand of indie-pop. Written entirely by Mills and co-produced with John Mark Nelson (Taylor Swift, Allison Ponthier), Baby Magic arrives as a complex and captivating body of work, built on a potent tension between her dreamy romanticism and intense self-awareness.

Als Max Richter sein Bestseller-Album VIVALDI RECOMPOSED im Herbst 2012 zum ersten Mal veröffentlichte, war die Wirkung unvergleichlich. Nie zuvor hatte man eines der beliebtesten Werke der Klassik, Vivaldis Vier Jahreszeiten, so gehört.

Seither begeisterte Max Richter weltweit ein Millionenpublikum mit seinem »Vivaldi für das 21. Jahrhundert« (DIE ZEIT) und berührte damit nicht nur jene, die das Original in- und auswendig kennen und lieben, sondern auch völlig neue Generationen von Hörern, sei es in Konzerten, Filmen oder Serien, wie in den Netflix-Erfolgsformaten Bridgerton oder The Crown.

Gemeinsam mit Musikern des Chineke! Orchestra und der brillanten Violinistin Elena Urioste taucht er nun noch tiefer in die faszinierende Klangwelt des bahnbrechenden Werks ein. Die neue Version THE NEW FOUR SEASONS spielen sie auf originalen Streichinstrumenten aus Vivaldis Zeit und der »Stradivari unter den Synthesizern« – einem frühen Moog aus den 70er-Jahren.

»Die Klangpalette von Vivaldi in der neuen Partitur zu hören, war außergewöhnlich – es war wie ein Feuerwerk.« Max Richter
Das Ergebnis ist eine einzigartige musikalische Reise durch Max Richters absolute Meisterwerke, die nun gänzlich neu in den schillernden Farben des Barocks glänzen. Er selbst zitiert dazu John Cage: »Als Künstler ist unser Geschäft die Neugier«, und kommentiert: »Das trifft es, finde ich. Bei kreativer Arbeit geht
es darum, Dinge zu entdecken, von denen man nicht wusste, dass es sie gibt.«

High ranking anthem from 1982 with the Roots Radics in full effect and backed by world cup winning Scientist dub. Sampled countless times in drum and bass, this is the first time legit seven inch pressing for this original ruling version. Both tracks produced by Henry "Junjo" Lawes, recorded at Channel One and mixed by Scientist at King Tubby’s studio. Limited one-time press only, 7-inch-single with Jah Guidance label prints in a grey/white sleeve with Johnny Osbourne and "Junjo" images. European pressing.

On-U Sound announce latest volume in the Pay It All Back series with unreleased Lee “Scratch” Perry track, plus 40th anniversary live concerts

On-U Sound is proud to present the latest volume in the much-loved and collectable series of On-U Sound label samplers, packed with exclusives, alternate mixes and previews of upcoming releases. Includes unreleased tracks from Lee “Scratch” Perry, Tackhead, African Head Charge, Mark Stewart, Creation Rebel, Andy Fairley and more.

The first music to be shared from the album is an unreleased track with the late, great Lee “Scratch” Perry - “Many Names Of God” is an outtake from the sessions that produced the Rainford and Heavy Rain albums and also features vocals from Nightmares On Wax collaborator LSK aka Leigh Kenny.

The release of the new compilation also coincides with a very special concert taking place at the Forum in London, originally scheduled for 2020 but delayed because of the pandemic. Celebrating 40 years of the On-U Sound label, it brings together musicians and artists from at least four different continents for a unique evening with Horace Andy, Tackhead, African Head Charge, Creation Rebel and most of the other musicians featured on the album.

Label boss Adrian Sherwood comments: “As usual with the Pay It All Back series, the intention is to promote our upcoming releases and productions. Also on offer are previously unreleased gems, versions of tracks exclusive to this release and more from artists that we’re keen to promote. Sadly in the last year we have lost so many music giants from amongst us, including Lee “Scratch” Perry, George Oban and John Sharpe. Lee Perry laughed at death. It was to him just a part of life and another beginning...I trust Lee. I’m very proud of this album, it goes out to all On-U Crew, our missing and irreplaceable friends.”

Please note that the Rita Morar and Mark Stewart tracks are vinyl only, are not currently available digitally, and therefore are not accessible via the download card.

- Spec: Limited edition transparent blue vinyl in 3mm colour printed sleeve with printed inner , full sleevenotes, fold-out 24” x 12” Pay It All Back concert poster and download card

Bonus tracks accessible via DL card:
1. Tackhead ft. MAD 45 - I Don’t Wanna Work A Fake Job
2. Sherwood & Pinch - Excessive Drinking
3. Ital Horns - Metropolis
4. LSK - Money Masters
5. Andy Fairley - Deranged Man

CHIWAX CLASSIC EDITION proudly presents Ron Allen aka Wax Fruit. "Whispers" came out in 1994 on famous Definitive Records, runned by John Acquaviva and Richie Hawtin.

Ron Allen moved to Toronto in 1988 and became a pioneer of electronic music in Canada releasing his first record on Bigshot Records in 1989. Also a JUNO Nominated music producer, songwriter, and DJ. In 1991, Ron Allen and Hayden Andre formed legendary dance music label Strobe Records that was instrumental in developing the house and techno genres in the early 90's

I’m Jimmy Reed underlined the very raw nature of the recordings, yet it immediately showed
why his music was embraced so much by others as the songs offered more melody and variety
than other Blues players. Ain't That Lovin' You Baby has fine melodic hooks that could easily
be transcribed into rocking versions, while Boogie In The Dark set the template for so many
groups in the sixties. The slower tracks like You Got Me Crying and Little Rain provided useful
contrasts, while Honest I Do gives added meaning to the phrase 'stripped down'. Jimmy Reed
was easily the most commercially successful Bluesman in America during the 1950s, and as
such his material was readily available to be plundered by artists wanting to enrich their live
repertoire. This reached its height during the UK Beat boom when virtually every working group
included his songs in their sets. The Rolling Stones, The Yardbirds, Them and The Animals all
covered his songs liberally during the first half of the sixties. In his homeland, The Grateful
Dead, The Steve Miller Band, Johnny Winter, Wishbone Ash and, bizarrely, even Bill Cosby
followed suit!

In late 1961 Spector formed Philles Records with Lester Sill, buying his mentor out the
following year. The slogan was ‘Tomorrow’s sound today’, and Phil Spector proceeded to live
up to that boast. Three-track tape machines were then state of the art, and he perfected the
method of ‘bouncing’ the tracks to get the biggest possible sound. As time went by, his ‘twominute symphonies for the kids’ would be increasingly gilded by his ‘everything but the kitchen
sink’ production including Strings, Percussion and banks of Vocals. Spector gained his
second U.S. chart-topper and his first as a Producer in 1962 with the Gene Pitney penned,
He’s A Rebel. Spector became increasingly obsessed by the production process. ‘My records
are built like a Wagnerian opera. They start simply and end with dynamic force, meaning and
purpose. I dreamed it up.’ He retired from the music business, returning only sporadically to
work with first The Beatles (their Let It Be album, plus solo LPs by George Harrison and John
Lennon), plus a handful of other artists including Dion, Cher and the Ramones.

Repress of the 10 year anniversary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers. He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

'Kickstart The Sun', das ganze neun Monate Studiozeit in Anspruch nahm und teilweise in den legendären RAK Studios in London aufgenommen wurde, legt die Messlatte zu den vorherigen Alben noch einmal höher. Das vertraute Team aus Produzent/Gitarrist und Hauptsongwriter Greg Hart und Engineer Ian Caple haben 15 epische AOR-Nummern aus der taufe gehoben die eine Gesamtspielzeit von über 60 Min. haben. Das Album enthält einige ganz besondere Gäste, die bestätigen, dass die Band ihre musikalischen Grenzen bis zum absoluten Maximum ausreizt.

Der legendäre Pedal-Steel-Spieler B.J. Cole (Elton John, Humble Pie, Gerry Rafferty, Stranglers, John Cale, Uriah Heep u.v.a.) gehört dazu wie auch der australische Virtuose Ian Cooper, oder Emily Lynne und Lara Smiles die normalerweise bei The Australian Pink Floyd im Chor singen.

'Kickstart The Sun', wird neben der einfachen CD-Version auch als limitierte Doppel-RED MARBLE-Vinyl mit Booklet, als YELLOW MARBLE-Vinyl mit Booklet und als Super-Deluxe-Doppel-CD inklusive einer 10-Track-Bonus-CD mit exklusiven Aufnahmen und alternativen Mixes erhältlich sein.

'Kickstart The Sun', das ganze neun Monate Studiozeit in Anspruch nahm und teilweise in den legendären RAK Studios in London aufgenommen wurde, legt die Messlatte zu den vorherigen Alben noch einmal höher. Das vertraute Team aus Produzent/Gitarrist und Hauptsongwriter Greg Hart und Engineer Ian Caple haben 15 epische AOR-Nummern aus der taufe gehoben die eine Gesamtspielzeit von über 60 Min. haben. Das Album enthält einige ganz besondere Gäste, die bestätigen, dass die Band ihre musikalischen Grenzen bis zum absoluten Maximum ausreizt.

Der legendäre Pedal-Steel-Spieler B.J. Cole (Elton John, Humble Pie, Gerry Rafferty, Stranglers, John Cale, Uriah Heep u.v.a.) gehört dazu wie auch der australische Virtuose Ian Cooper, oder Emily Lynne und Lara Smiles die normalerweise bei The Australian Pink Floyd im Chor singen.

'Kickstart The Sun', wird neben der einfachen CD-Version auch als limitierte Doppel-RED MARBLE-Vinyl mit Booklet, als YELLOW MARBLE-Vinyl mit Booklet und als Super-Deluxe-Doppel-CD inklusive einer 10-Track-Bonus-CD mit exklusiven Aufnahmen und alternativen Mixes erhältlich sein.

Brown vinyl LP. For the first time ever released on vinyl, this brilliant 2012 LP features an all-star cast of musicians and actors lead by Tim Robbins, Dr. John, Bill Frisell, Ralph Steadman, Annie Ross, John Joyce III and Will Forte.

Hunter S. Thompson's classic Gonzo reportage on the 1970 Kentucky Derby is summoned brilliantly to life through spoken word and musical composition. Conceived by executive producer Michael Minzer for his Paris Records label, the project was produced by Hal Willner, who brought Bill Frisell in as composer/arranger/conductor. Bill then assembled a stellar group of musicians including Curtis Fowlkes (trombone), Ron Miles (trumpet), Eyvind Kang (viola), Doug Weiselman (woodwinds), Jenny Scheinman (violin), Hank Roberts (cello) and Kenny Wolleson (drums, percussion).

Ralph Steadman does double duty portraying himself in the narration and contributing original artwork for the project. In 2021, Kramer re-Mastered the original audio for this historic re-release on limited-edition 'Horse-Shit Brown' vinyl for his Shimmy-Disc label.

For genre-bending band Whiskey Myers, 2019’s self-titled and self-produced album offered a watershed moment. With Rolling Stone raving that the “irresistible” album was “the record the band was poised to make” while declaring them “the new torch bearers for Southern music” in a story titled “How Whiskey Myers Won Over Mick Jagger and Made the Album of Their Career;” Billboard and No Depression naming the album to best-of-the-year lists; 41,000 first week album sales; and the project debuting atop both the Country and Americana album charts (as well as at No. 2 on the Rock charts, behind only a re-release of The Beatles’ Abbey Road), the band celebrated mainstream success a decade in the making. Now, after spending 21 days isolated at the 2,300-acre Sonic Ranch studio deep in the heart of their native Texas, just miles from the U.S./Mexico border, the Gold-certified renegades have doubled down on what they do best: sharing honest truths with no-holds-barred instrumentation, letting the self-produced music speak for itself. Yet with Tornillo, named for the border town that is home to the pecan orchard-filled recording complex and set for release on July 29 via their own Wiggy Thump Records with distribution by Thirty Tigers, the six-piece band has taken their solid decade-plus foundation and pushed themself to further explore new sonic landscapes. “It’s going to have a little bit different sound,” lead singer Cody Cannon shared recently with Outsider. “It’s still Whiskey Myers at its core, but it’s kind of fresh… We did a lot of bass and horns on this one, which is something we’ve always wanted to do. Just being fans of all that old music and Motown stuff, and a lot of the stuff coming out of Muscle Shoals, old rock and roll. “We’re going to bend genre even more, I think, with this new record,” he continued. “It’s all over the place. But that’s fun, right? I hate the whole ‘Put it in a box. You gotta be this.’ … That’s not art to me. I love the idea of just doing, really, whatever you feel. It comes out a certain way because that’s just how it comes out. Whiskey Myers never really tried to be a certain way. It’s just how we are. So I think that’s really the whole thing about music, or the beauty about music; it’s just that freedom to create.” Tornillo as a whole does exactly that, drawing as much inspiration from Nirvana as from Waylon Jennings – even adding the legendary McCrary Sisters’ gospel influence to the project on background vocals. With Cannon leading the way on songwriting, the album also features writes from lead guitarist John Jeffers and fellow bandmembers Jamey Gleaves and Tony Kent, as well as rising singer/songwriter Aaron Raitiere (Anderson East, Oak Ridge Boys, A Star is Born).

Living In Clip (25th Anniversary Edition) Newly remastered for vinyl + cd in deluxe packaging. This landmark double album by Ani DiFranco, features her trio from 1995-1996 with Andy Stochansky (drums) and Sara Lee (bass). Twenty-five years later the album is recognized as a point of entry that radically expanded DiFranco’s audience, and a historically important testament to the relationship between Ani as a live performer and the devoted community she created with her fans. If there was ever a record to help you pull through until the next time the Folksinger makes her way to your town, Living In Clip is the one. Affectionately named after the state of stage amps about to blow out, the record is constructed like a show complete with the onstage humor and antics we love. The culmination of years of studio work and constant touring, Living In Clip is a tour in itself: nearly two-dozen venues provide the atmosphere for over two hours of music complete with intermission and encore. Recorded straight from the soundboard on an 8 track ADAT, digital videotape and mixed by Ani and Andrew Gilchrist – Living In Clip is conceptually designed to preserve the authenticity and pulse of a live show. There are jazzy folkalicious renditions of "Letter to A John," "Fire Door," "Diner" and "Anticipate." Amusing and sweet snippets are interwoven throughout the songs and sometimes during them - "Out of Habit" harbors a little cinematic glimpse into Ani's first days in New York City. This dynamic collection also offers The Buffalo Philharmonic Orchestra playing on "Both Hands" and "Amazing Grace" at a hockey arena as well as a phenomenal version of "Shy," that was nominated for a Grammy for Best Rock Vocal Performance – Female (or whatever). Living In Clip is also considered one of Rolling Stone Magazine's essential albums of the 90's. Living In Clip includes a beautiful photo gallery that contains pictures of the sparkling faces, questionable attire and unique persons behind the road show.

In 1972, Jethro Tull released the instant classic, Thick As A Brick. 50 years on and the album is still revered as one of rock’s and progressive rock’s most definitive and pioneering albums. To celebrate the 50th anniversary, Thick As A Brick has been reproduced in its original format, the legendary 12-page newspaper. The vinyl is a half-speed master of Steven Wilson’s 2012 remix.

Thick As A Brick came about following the release of Jethro Tull’s immensely successful previous album “Aqualung”. Upon its release, Aqualung was regarded a concept album in the music press, and in response the band set about to respond to the rock critics with the ultimate concept album, culminating in Thick As A Brick.

Unlike any other records on the market, the album is set inside a broadsheet newspaper, “The St. Cleve Chronicle & Linwell Advertiser”. The newspaper includes many news articles packed full of continuing jokes, a crossword, connect-the-dots and much more. It was originally written by Ian Anderson, Jeffrey Hammond and John Evan, with the newspaper taking longer to put together compared to the music. As reported in the paper, the lyrics were credited at the time to the fictitious child character, Gerald Bostock, whose parents supposedly lied about his age. Amongst the many articles is a frank review of the album itself. Thick As A Brick was the first album to feature drummer Barrie Barlow, who featured alongside Ian Anderson, Martin Barre, John Evan and Jeffrey Hammond.

A must for any record collection, the album is a half-speed master of Steven Wilson’s 2012 remix, providing the ultimate audio experience of the progressive rock classic.

Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica, and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. There is a always the pervasive element of group play, or ensemble?mindedness, as opposed to emphasis on a virtuoso soloist or frontman, despite the fact Tortoise is composed of members who could each easily have taken center stage in another group. In their debut, Tortoise is composed of Douglas McCombs, John Herndon, Dan Bitney, John McEntire, and Bundy K. Brown. This self-titled, incorporates many musical styles and influences, but no one style alone is sufficient to fully describe the distinct sound they craft. This unique blending of styles caused them to be recognized as the leaders of a new musical movement. Tortoise utilize the recording studio, not only to put their music to wax, but in a way that their recording process becomes a compostional tool described at times as the "sixth member", thus creating a boundless parameter in which to create and manipulate music. Tortoise's self-titled debut was originally released in 1994. This re-issue is re-mastered by Roger Seibel at SAE Mastering, in jacket with art insert, both designed by Sam Prekop as well as a free download card. 2022 version is available on limited edition white with hi-melt black vinyl

Recorded under a loft bed in the guest bedroom of his Nashville home, Michael Ruth aka Rich Ruth’s “I Survived, It’s Over” starts in a humble space. And while many contemporary music projects are produced in such an environment, “I Survived, It’s Over” sets itself apart in its transformative properties as well as its transparency. What we have here is honest sound exploration, session musician-level instrumentation, and a true love for nature run through the fingers of a dude who can channel some acute and undeniable magic. This music goes deep. "I conceived much of this record amidst the quiet and tumult of 2020 in my neighborhood that had recently been ravaged by a tornado," Ruth recalls, "I spent most of my days working on these pieces between bicycle rides - watching the beautiful Tennessee ecosystem flourish in Shelby Park, listening to Keith Jarrett’s The Koln Concert and John Coltrane’s Ascension." Underneath the swell of the strings and the shredding of the guitars, this record has hard working, rustbelt, drum-heavy roots all over it (which makes sense as Ruth hails from outside of Toledo, the album was mixed by John McEntire from Chicago band Tortoise). Many of the flutes, saxophones, pedal steel, and other instruments were recorded remotely because we live in the future, but this only adds to the collage of sampled and sample-able material that Rich Ruth has to offer. The organic relationships between the artist and other musicians on the album is evident even in the compilation style sampling that needs to occur in putting such a project together. "Working on this music is a daily meditation," says Ruth. "I constantly experiment with sound until it reflects the way I am feeling and attempt to sculpt something meaningful from it. Through years of being a touring musician, it is a constant inspiration and privilege to collaborate with the individuals that graced this record with their voices." And those relationships pay off, because “I Survived, It’s Over” is a sonic meal. It’s rich (no pun intended) with massive instrumentation that’s usually reserved for more symphonic delights. But at the same time it’s simple and leaves space to breathe–space you didn’t know you needed. In his own words; "I Survived, It’s Over is a meditation on healing, confronting trauma, surrendering, and finding peace. I wanted to encapsulate the tranquility and disarray found within this process." Ruth’s heart and the peace that his presence produces is all over this album. And despite his midwestern humility and willingness to brush off any praise, he’s put together something really special that carries its own weight. It's the kind of record that only comes around every once in a while and it's worthy of all the head-bobs, acclaim, and celebratory potlucks that Mike and the gang have coming their way. “I Survived, It’s Over” is a record you should buy for your friend, your foe, and yourself. It’ll sit perfectly on your shelf between Alice Coltrane and Hiroshi Yoshimura.

»Kyo Mu« and »Hochtöner« both reveal a mesmerizing symbiosis of innovative sound exploration and visionary interior music, a sublime compound of fine-drawn intricate arrangements skillfully projected in space and time, or perhaps beyond space and time.

Johannes Fritsch (1941–2010) was an award-winning composer, musician, publisher, studio owner, author and music teacher. He studied viola and composition with Bernd Alois Zimmermann and was member of the Stockhausen Ensemble from 1964 to 1970. Together with Rolf Gehlhaar and David Johnson (also from the Stockhausen Ensemble) he established the Feedback Studio Köln and the Feedback Studio Verlag, the first publishing house owned by composers in Germany.

Fritsch’s complex musical estate consists of approximately 130 works: it covers electronic music, chamber music, ballet, theatre and film music, organ compositions, an opera and pieces for large orchestras. Although Fritsch’s compositions are varied, all of them convey a strong interest in new sound combinations and sound colours.

Boxset (9x12")

Das Alternative-Metal / Death-Metal Quintett DevilDriver wurde 2002 in Santa Barbara, Kalifornien, USA gegründet. Bandleader ist der charismatischen Sänger Dez Fafara , ein Veteran der NuMetal-Bewegung, der bereits 1994 mit seiner früheren Band Cold Chamber die Schützengräben der Musikindustrie umgegraben hat. Ursprünglich bei Roadrunner Records unter Vertrag, bestand die Gruppe auch aus den Gitarristen Jeffrey Kendrick und Evans Pitts, dem Bassisten Jon Miller und dem Schlagzeuger John Boecklin. Seit sie 2003 mit ihrem
entscheidenden selbstbetitelten Debüt ein Loch in den Zeitgeist gesprengt haben, ging die Reise für das südkalifornische Quintett steil bergauf

In association with DJ Amir’s 180 Proof Records, BBE Music continues its exploration of rare gems from the Strata Records catalogue, with previously unreleased Sam Sanders album ‘Mirror Mirror’. A collector’s dream come true, this is musical treasure is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact, given that it ranks as one of the strongest releases in the already air-tight era of Strata’s Detroit. Although he’s been compared to John Coltrane, Ornette Coleman and Joe Henderson, saxophonist Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Sanders’ approach to life was so 'out there' that one might say his relative obscurity was a personal choice. Sanders caught glimpses of fame early on performing with several internationally known acts and subsequently, he also learned a bit about what the Record Industry’s primary goals were. Realizing that he did not share them, Sanders chose instead to walk his own path. This drive for artistic freedom turned out to be a double-edged sword: while it allowed Sanders to produce some of the most electric jazz, funk, and soul to come from Detroit, it also meant that most of his recordings were never widely released, if they were released at all. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorised as jazz. As such, 'Mirror Mirror' moves seamlessly between spirit and style: The album starts on the street with “Inner City Player,” a superfly breakdown of a Detroit hustler’s life, before moving into distinctly abstract territory with the melancholy “Face At My Window.” The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straightforward jazz song on the album, “Lover’s Gain” showcases Sanders at his freewheelin’ best. And if there was to be any doubt that 'Mirror Mirror' can get funky as hell, look no further than the wah-wah guitar and early synth sounds of “Funk’ed Up,” easily the greasiest cut on the album. 'Mirror Mirror' is remastered from the original reel to reel master tapes.

For Judah & the Lion, the last two years should’ve been the best of their lives as the Nashville band toured behind a powerful single and a genre-upending album, sharing stages with heroes and playing to oceans of fans. But as everything was coming together for them, singer-guitarist Judah Akers’ family was falling apart in a hail of alcoholism and affairs, death and divorce. From that tension comes Pep Talks, the trio’s third LP, and a hard left turn into deeply personal terrain. Knowing they had something new on their hands, Judah, Brian Macdonald (mandolin), and Nate Zuercher (banjo) took their time crafting a set of songs that not only shores up their one-of-a-kind sound—a heart-pounding whirl of folk, bluegrass, rock, hip-hop, and electronic production— but takes the listener on a bracingly candid, surprisingly anthemic journey from the kind of pain that tears your whole world apart to the sort of hard-won hope that can bridge the deepest of rifts.

Very few copies in on this. Limited to 350 2LP’s pressed at 45RPM Black vinyl, pressed at Kindercore in Athens, GA, housed in “bootleg-style” hand-stamped and numbered LP jacket. Lacquers cut by Bob Weston at Chicago Mastering Service. Mixed by John Congleton w/ Jeremy Lemos and Steve Shelley." In the summer of 2009, Sonic Youth drummer Steve Shelley and the band’s long time sound engineer, Jeremy Lemos, invited Lemos’ White/Light bandmate Matt Clark and Chicago spacepunx Disappears to come over to Lemos’ Semaphore Recording studio and jam. Their one-afternoon, two-drummers, three-guitarists, no-rules jam evolved into a productive and glorious multi-day freakout, which resulted in the recording of these eight songs. Producer John Congleton (St. Vincent, Angel Olsen) later mixed the marathon session with Steve and Jeremy at Echo Canyon West in Hoboken, NJ.

Tape
Los Angeles native Sha Sha Kimbo undeniably lives for the rave. As exemplified through her every intentional move as a producer, DJ, promoter, radio host and label owner, Sha Sha radiates an unwavering love for amplifying, nurturing and supporting the culture of underground electronic music and the community that surrounds it, with her forthcoming release absolutely no exception to this.

Set for release as a digital download and limited edition cassette tape on August 13, the LA rave staple is happy to announce her debut EP on Evar Records, Total Chaos. A brilliant testament to the cathartic importance of staying up late and getting lost in a buzzing crowd of kindred spirits, Total Chaos harnesses the universal experience of having pent-up energy into massive, angst-ridden breakbeat anthems. Over six tracks, Sha Sha channels the hair-raising spirit of '90s rave along with her formative experiences with DMZ-via-Low End Theory dubstep and punk rock. Finding her place within LA's bass music, house, techno and rave scenes while defying easy categorization, Sha Sha personifies the no-rules electronic music ethos behind John Frusciante and Aura T-09's Evar Records. To supplement Total Chaos' three originals, LYZZA, Machine Girl and LCY provide three raw remixes highlighting various aspects of Sha Sha Kimbo's renegade rave spirit.

Drawing from the Los Angeles punk rock and '90s rave music that soundtracked her youth, Total Chaos personifies how she grew up on the dance floor, showcasing Sha Sha's tried and true ability to express rich, nuanced emotions through tracks that, first and foremost, can level a warehouse party. Kicking off the vibe on July 30, the EP's lead single "Save The World" is a perfect representation of this, with the jump-up rave cut employing a megaton breakbeat and sickly-sweet vocal samples over simmering base of dark, UK-influenced atmospherics. From the late night energy of the title track to the euphoric, dawn-breaking feel of "Limited Perfect," Total Chaos offers the refuge of a robust dance floor with the warm reassurance to be one with the universe.

Rounding out Total Chaos EP are three remixes that amicably and serendipitously support Sha Sha Kimbo's visionary aim to both explore the unknown and bring people together along the way. Brazilian-born, Amsterdam-based powerhouse LYZZA adds a full verse and a nest of serrated rhythms to her version of "Total Chaos," while New York's Machine Girl applies their trademark punk electronics approach to "Save The World." Meanwhile, Bristol's own LCY hollows out "Limited Perfect" into a haunting amalgam of post-punk minimalism and low-frequency pressure. A study of the opposing light and dark energies of underground dance music, Total Chaos presents a breakbeat-heavy vortex, sure to awaken everyone's inner raver.

The Idealist is one of the many projects of Joachim Nordwall who has a long history in Swedish experimental music running the quintessential iDEAL Recordings record label since 1998, as a member of the psych-drone duo Alvars Orkester, avant punk rock trio Kid Commando and ritual drone rock group The Skull Defekts and through his many solo recordings and collaborations with people such as John Duncan, Aaron Dilloway, Mika Vainio, Mats Gustafsson, Leif Elggren, Gabi Losoncy, Mark Wastell and Christine Abdelour.
As The Idealist, he has been delving into an amalgam of experimental techno, dub and industrial music since 2006. His new A Lion Is A Lion And Not A Lamb continues this perspective unabatedly, conjuring up six tracks that shimmer with an almost psychotropic intensity, sometimes including acidic touches, dwelling in a confrontational minimalist musical stance where repetition, bursts of gorgeous noise and dubbed out skeletal rhythms make for wayward yet driving grooves at home on the dance floor and a set of headphones alike. The Idealist looks for engagement within rhythm, in its almost purest
form.

Once again DJ Click will make you travel ! A Dancefloor post-world music killer, melting with House and Electro, keeping the spirit of the original styles alive ! Fat & Crazy stuff !!

Cult South Asian New Wave! Naya Beat is proud to announce its second release, Tere Liye, the highly sought after and impossible to find New Wave album by the unsung pioneers of the British Asian music scene, Pinky Ann Rihal. Remastered for vinyl by multi Grammy-nominated Frank Merritt at The Carvery and available for the first time since its limited 1985 release, the album is as fresh and relevant today as it was 37 years ago.

South Asian New Wave. Four words that you will rarely see together. Pinky Ann Rihal were the brainchild of two London-based Punjabi immigrants and progressive rock musicians – Harry Rihal and Jati Sodhi – at a time in the U.K. when progressive rock musicians were almost exclusively white and Punjabi musicians were almost exclusively making Bhangra. Encouraged by their friend and disco pioneer Biddu (yes, that Biddu!), they cut ‘Tere Liye’ – a one-off Hindi-language New Wave album with producer John Hamilton and vocalists Pinky Rihal (married to Harry) and Anne Barrett (married to John). It is an album that exemplifies the cultural collaboration and musical synthesis of the time. Complementing the rich, cosmic and layered synths and drum programming of Hamilton and the distorted guitars of Rihal and Sodhi are the Hindi lyrics of vocalists Pinky and Anne. The result is an amazing one-of-a-kind South Asian New Wave album. Nothing like it has come out before or since.

Stymied on its original release by bungled distribution, poor marketing and plenty of bad luck, this incredible album seemed destined to be lost to history. With Asian electronic music in the U.K. seeing a rebirth and capturing imaginations around the world,‘Tere Liye’ can finally take its rightful place as one of the pioneering albums of the Asian underground.

This is Naya Beat’s second release in a series of reissues, reworks and remixes, and compilations dedicated to uncovering electronic and dance music from the overlooked ‘80s and ‘90s South Asian music scene. Their first release Naya Beat Volume 1: South Asian Dance and Electronic Music 1983-1992 was named by the Vinyl Factory as the Number 1 reissue of 2021.

Please welcome Barış Karademir, Istanbul's edit master, DJ, and musician with Insanlar on Live At Robert Johnson!

If you're a person that likes to get up late, Barış's first track »Noon« is the one for you. It sort of sets the mood for the whole EP with a groove that is deep and hypnotic and above all psychedelic. There's tremolo en masse plus these in and out fading voices that suck you into Mr. K's world - all kept together by this steady forward marching Barış beat. Pleasure, joy, and happiness - all in on groove - and not only effective at noon.

»La Dame Noir«'s most prominent feature is a mean bass line - plus more of those otherworldly sounds that Barış manages to pull out of his magician's hat while creating a superb shuffling riddim for all you dancers to shuffle along to, throwing in that oh so subtle triangle now and then.

With the last track »Valhalla«, Barış enters the mythological place of Asgard, where Valhalla, Odin's hall of the slain can be found in his Glaðsheimr castle. That kinda sounds a bit archaic and dark but don't be afraid: where there is shadow there is also light - light which can be heard in the first opening lines, lines that do sound a bit like played by our favorite shoegazer band "My Bloody Valentine". To get to Valhalla, Barış accelerates the tempo by a couple of beats, yet throws in all trademark ingredients to cook up a tune for peak time dancing in Valhalla … erm … I mean in the club.

So yes, please let us invite you to Barış K's wonderful world of sound - you won't regret it.

John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.” Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5. The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.” That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.” Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”

Available on color vinyl for the first time on limited edition opaque blue packaged with download code. Isotope 217 is made up of Dan Bitney, John Herndon, and Jeff Parker from Tortoise along with Rob Mazurek (Chicago Underground, Exploding Star Orchestra), and Matt Lux (Iron & Wine). The music of Isotope 217 is as complex and varied as the influences of it's members. Isotope 217 on Isotope 217: "It is hard to state exactly what this band is because of the diverse influences of the participants. One might say an eclectic avant funk ensemble dedicated to the Phonometric * system of universal thought. One might also say a freewheeling trans-moleculer unit dedicated to the betterment of all worlds." *Note phonometrics are, as described by Satie, the Science of measuring sound.

MISADVENTURES OF DOOMSCROLLER wurde von Jonathan Wilson (Billy Strings, Father John Misty, Angel Olsen) produziert und stellt eine neue, abenteuerliche Richtung für Dawes dar, die einen ehrgeizigeren und experimentelleren Ansatz bei den Aufnahmen zeigt als je zuvor.

”Wir waren schon immer stolz darauf, Minimalisten zu sein. Mit dieser Platte haben wir uns vorgenommen, MAXIMALISTEN zu sein”, sagt Goldsmith. ”Immer noch ein Quartett. Die Songs sollen sich nicht
hinter irgendwelchen Tricks oder Effekten verstecken. Aber wir lassen die Songs wirklich atmen und sich ausdehnen und leben, wie sie es wollen. Wir haben beschlossen, keine Rücksicht mehr auf kurze Aufmerksamkeitsspannen zu nehmen. Unsere Ambitionen gehen dabei über das Musikalische hinaus. ”Wir wollten auch die traditionelle Länge einer Schallplatte - 40-45 Minuten - respektieren, aber keine Rücksicht auf die Anzahl der Tracks nehmen. So wie es Miles oder Herbie oft getan haben. Die Songs zu dokumentieren ist nur die eine Hälfte des Bildes. Für diese Platte sind sie auch die Plattform, von der aus wir abspringen und uns darin verlieren können. Ich glaube, ich kann es am besten so ausdrücken: Wir wollten, dass diese Platte weniger eine Sammlung von Songs als vielmehr eine Sammlung von Musik ist.”

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Very limited pressing of 300 units only. Following on from the two sold out records together, Freschard and Stanley Brinks come together for 12 brand new tracks. Lion Heart is an irresistibly charming collection of late night tales, woozy ballads and uptempo sing-alongs. Clemence Freschard’s beautiful vocal tones lend this a rich, French indiepop/chanteuse vibe, complemented by Stan’s wistful timbre and characteristic warm instrumentation. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures. Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. On Midnight Tequila, Freschard brings it back to just drums and vocals // “an absolute joy.” Q // “...a set that’s as wistful and charming as it is playful and self-concious.” Uncut // “quietly charming” Pitchfork

Los Angeles-based visual artist and musician Lionel Williams was born
and raised in a family of musicians - he is the grandson of soundtrack
composer John Williams
Since 2010, he has been releasing music as Vinyl Williams. After three albums
released on No Pain In Pop (Lemniscate, 2012) and Chaz Bundick’s Company
(Into, 2015 and Brunei, 2016), Vinyl Williams joined French label Requiem Pour Un
Twister for his fourth album Opal released in 2018. Throughout his art, both
musical and visual, Lionel Williams explores the syncretistic territory between
reality and dreams, between earth and space. “Music is a chance to transmute
qualitative opposites into the center, to dissolve all illusions of duality”, he says.
Since chaos and disorder are an illusion, Vinyl Williams is trying to reach a new
state of celestial harmony on Opal. The result is an album fueled with mysticism
and space age utopia, ten kaleidoscopic lush pop songs that takes you into a
transcendental journey on an opal marbled vinyl limited to 500 copies.

Vanderwolf re-emerges with '12 Little Killers' an eclectic collection that
includes the deliciously oozing slice of psychedelia of the single Glisten,
which is heavily-slanted toward melting analogue synthesizers (Sam
Sallon) and rich layers of acoustic guitars (Chris Cordoba) and an
exquisite vocal by Max Vanderwolf
Recorded by producer Chris Wyles at his south London studio, the 12 songs were
selected, mixed and compiled by keyboardist and co- producer Sam Sallon. It's
available in a limited pressing of 500.
Vanderwolf's music spans a wide-range of genres from global beats to hard blues
to fragile balladry to prog- rock monstrosities and beyond. With a vast back
catalogue of songs to release, Vanderwolf is set to get his wild and restless
music out to the world.
Born in NYC, working in London and as of 2020 residing in Los Angeles, Max
Vanderwolf has recorded several albums and countless songs. Most of them
remain unreleased. Notably, he was vocalist and creative-force behind the semilegendary London band, Last Man Standing, whose sole album in 2008 received
plaudits from many including Mojo and Uncut.
Concurrent to his life in music, Vanderwolf has worked under an assumed name
as a music programmer and concert producer in some of the worlds' most
celebrated clubs and venues. He went from overseeing the legendary
underground downtown NYC's Knitting Factory to overseeing London's Royal
Festival Hall, where for 9 years he produced the Meltdown Festival where he
worked closely with David Bowie, Patti Smith, Jarvis Cocker, Massive Attack and
others. He has produced concerts in Brooklyn, Rome and Paris working closely
with John Cale, Sparks and the Residents.