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LIMITED EDITION WHITE VINYL LP Jesca Hoop has a tradition of reimagining and rerecording her own albums and having previously created beautifully stark versions of her albums "Kismet" and "Hunting my Dress" it is the turn of "The House That Jack Built". Recorded in her Manchester based home-built studio in December 2020, these intimate and immediate reworkings shine the spotlight on Hoops intricate, complex song writing with her astonishing vocals front and centre "The Deconstruction of Jack's House" comes on limited edition white vinyl.

Thalia Zedek is an artist of immutable stature and
unceasing vitality. The legendary songwriter’s fiery voice
and frank lyricism give her songs emotional potency and
stark beauty. Zedek is able to distill complex events into
simple, clear and, at times, monumentally weighty
moments with a singular grace. Through ballads or bluster,
Zedek imbues her music with unguarded honesty. ‘Perfect
Vision’ examines the anxiety and pain of rising divisions
between people both physical and ideological. Zedek
transmutes fervour and resilience into sobering laments,
while her lush arrangements wrap the listener in an often
complex emotional message.
‘Perfect Vision’ follows the 2018 ‘Fighting Season’, created
in the midst of growing tensions across the US. On
‘Fighting Season’ Zedek sought resistance, where on
‘Perfect Vision’ she searches for clarity during a time of
exponential isolation and doubt. Every challenge and
sadness Zedek forces us to see is met in equal measure
by her defiant guitar and dissenting voice, a torch
illuminating a path for the listener to navigate through the
darkness.
Features Winston Braman, Gavin McCarthy (E, Karate)
and guests Brian Carpenter (Beat Circus, Ghost Train
Orchestra), Alison Chesley (Helen Money), David Michael
Curry (Boxhead Ensemble, Dinosaur Annex Music
Ensemble, Willard Grant Conspiracy), Mel Lederman
(Victory at Sea) and Karen Sarkisian.
CD in gatefold packaging with lyrics. LP in full colour jacket
and inner sleeve with lyrics. Vinyl packaged with digital
download card.

Von Annie Mac, Bonobo und Gorillaz bis hin zum Billboard, NME, Crack, Mixmag oder DJ Mag wird TSHA als eines der aufregendsten Talente aus Großbritannien gehandelt. Ihre kommende EP, „OnlyL“, die am 27. August 2021 auf Ninja Tune erscheint, zeigt eine selbstbewusste Kreative, die ihr eigenes Gefühl und ihren Sound ständig weiterentwickelt und verfeinert.

Die Veröffentlichung folgt auf einen fulminanten Lauf der jungen Künstlerin, zu dem auch der Start ihrer neuen, zweimonatlich erscheinenden „Jackfruit Radio“-Show auf Apple Music gehört, die Ausstrahlung ihres ersten BBC Essential Mix’ sowie die Ernennung zum „Future Artist“ von BBC Radio 1 im Januar 2021 und zum „Star of 2020“ durch BBC Introducing. Ihre letzte EP, „Flowers“, vom letzten Jahr, schaffte es auf mehrere Jahresendlisten und wurde von Billboard, NME, NPR, Resident Advisor, Mixmag, DJ Mag und vielen mehr gelobt.
Auf dem Titeltrack der EP, „OnlyL“, zeigt sich TSHAs angeborenes Talent, genreübergreifenden, stilvollen elektronischen Pop zu produzieren. Die Vocals von NIMMO alias Sarah Nimmo und Reva Gauntlett sind ein sofortiger Ohrwurm, wobei TSHA die düsteren Lyrics einem Upbeat-Instrumental des Tracks gegenüberstellt. „Power“ spielt mit einer weiteren Liebe von TSHA: Clubmusik. „I Know“ zeigt eine weitere Facette von TSHAs außergewöhnlichen Produktionsfähigkeiten. Die hier vollzogene perfekte Verbindung von Live-Musik und Elektronik ist ein wunderschön strukturiertes und melancholisches Werk, das um ein wunderschönes Hang-Trommel-Motiv herum aufgebaut ist.

- Lilafarbenes Standardvinyl im Disco Sleeve. Artwork von Felicity Marshall.

Coming off a strong 2020 for the label with releases from Big Strick, Gnext, and Butterbandz, 7 Days follows up with an EP featuring all 3. This trio (or TRINITY) put on a fantastic showcasing of talent. The EP starts off with a sweeping dance tune from Big Strick titled Balance. The catchy piano keys lift your spirits as the drum programming moves your feet. The very animated baseline is a strong force in this song as well. Somebody's Watching shows us Gnext's deep side once again. Hard hitting drums, delayed hi-hats, warm synth pad, aggressive yet friendly bass line, and some acid sprinkled on top. What's not to like? Lastly we get to see more of what to expect from ButterBandz. Another classic in the making for the rising producer on the 7 Days imprint. Ultra Instinct also has a deep underground feel. He brings a thundering, in your face, base line on top of a systematic drum program and airy synth pad. The heat is turning up for 7 Days and this is just a taste of things to come.

Alex Nemec (Mirabilis Label Boss / Tronic / Bush Records) & Nik Feral (Dynamic Reflection / Stahlplatten) gave us the labels best selling release of 2020 and so we follow up with a all star remix EP featuring Barem (Minus / Sci+Tec), Simon Baker (Get Physical / Cocoon / Rekids), Iain Taylor (Dirtybird / Balance / Rejekt Music Boss) alongside a previously unreleased rework of original track Ultra from last year’s release.

Early DJ support from Apollonia, Marco Carola, Davide Squillace, Butch, Cristian Varela, Tim Green, Michel De Hey, Tomasz Guiddo, Anderson Noise, Dave Angel with radio plays from Kiss FM, Ibiza Radio 1, Ibiza Global Radio, Ibiza Sonica Radio, Warm FM, Eldarado FM, Dance TV, Dancetrippin TV, Pioneer DJ Radio, Datatransmission Radio and Digitally Imported Radio Belgium.

The new school meets the old school. Riding those crystal-clear waves off the back of their standout EP for WOLF Music, New Zealand duo Manuel Darquart double down with this 10-inch remix package containing a classic reworking from the master of dream house, Don Carlos and a sleazed up street soul workout from themselves.

No introduction is needed when you see Don Carlos’ name in the mix. A legend of the Italian dream house movement that has influenced so much of what we’ve heard since, not least the productions of the Manuel Darquart guys. A dream (house) matchup some might say.

Step one, Carlos sprinkles his magic on ‘Keep It DXy’ switching up the drum programming and adding those Balearic flurries that add a considered dose of dreaminess to whatever he touches, think summery sweeping strings and echoing synth stabs.

On the flip the Manuel D guys go full sleaze, weak at the knees for their ‘Sleazy Sunday Mix’. Imagine a street soul, Balearic lovechild and you’re on the right track. Start suppin’ a margarita and you’re getting closer. Sun-lounger on the sand, Adriatic in front of you, last night’s euphoria still a buzz in the brain and you’ve hit the spot.

The man with the funky plan is back! Known for his groovy disco edits, Todh Teri is back with Deep In India Vol. 9. This all new record features another fellow sampler and old time record digger - Kone Kone.

The album starts off with Sampadan 30 where Kone Kone works his magic to bring out delicious crossover disco beats that characterise the charming 80s flowing into the alluring 90s of the Indian cinescape, with the old school glam of electric guitars and synths. This thumping track is followed by Sampadan 31 which is reminiscent of Chicago house but with Todh Teri’s classic Indian touch. Next up is Sampadan 32, with a simple yet funky bassline and juicy vocals that make you travel back in time to a golden era, making it quite an enticing vibe. Find solace with Sampadan 33, the final track on the record, a quintessential dub version of another classic that will make your head bob and drift you off to a safe & happy place.All in all, this record is wholesome as it has something for each and every listener with a brilliant illustration by Costanza Chandra in collaboration with Masala
Movement

The Stars, where Milwaukee meets San Francisco. Cedrick Rupert was the guitarist for the band 'Impulse', a group who formed in the early 70's of Milwaukee and backed local soul outfit, The Quadraphonics, whom recorded the hit “Betcha If You Check It Out/Prove My Love To You”, which was released internationally on the Warner Brothers imprint.

In the mid-70s, Impulse relocated to Oakland, CA to work alongside another Milwaukee icon, Harvey Scales to record their self-titled album, Impulse, which was recorded at the Wally Heider’s Studio in San Francisco. Alongside these sessions, Scales & Rupert would work on various recording projects for different clients, including a group called 'The Stars', commissioned by the label, André.

Two tracks, '(We Are The) Stars', & 'Best Friend', provide the energetic flavour of the disco driven scene of what was happening at that time in the Bay Area.

Bored At My Grandma's House is the moniker of 19-year old Leeds-based Amber Strawbridge, starting out as an exercise in passing time when she was quite literally bored at her Grandma's place. First single & EP opener 'Showers' is about time alone & listening to your mind - “Do you ever think of showers as like a new beginning?“ is a poignant opening line, about that therapeutic space for you to really think and let your thoughts surface. In Amber's own words "showers are a kind of therapy in my opinion, they give you time to reflect and think without influence from anything external."

Born in Whitehaven, Cumbria to musical family, and raised on the likes of Bowie & Pink Floyd there was always plenty of opportunity to mess around on the various instruments lying around the house. Attempts at proper music lessons went awry as Amber shunned the rules & rigidity, and so instead she gradually taught herself piano, guitar & drums. After time travelling in Cambodia, teaching English & helping with projects in various villages, Amber stayed with her Grandma & began to use the aeons of spare time to make tunes on Garageband & upload them to soundcloud. As a wave of BBC Introducing support rolled in, coupled with a move to Leeds to study music, the bedroom set-up evolved & a full EP began to take shape.

Playing all the instruments & self-recording most of the EP at home, Amber took the tracks to Alex Greaves (Working Men's Club, Bdrmm) at the Nave studio for live drums & some final mixing flourishes, leaving an EP full of lo-fi charm but with a studio feel.  Inspired by Slowdive, Wolf Alice & Alvvays, Sometimes I Forget You're Human Too showcases Amber's singular vision of indie-pop, on an EP that deals with topics like humanity, nostalgia & the current refugee crisis.

Speaking on the EP title Amber says "Sometimes I forget you’re human too is the realisation that everyone is the same. In the sense that we are all human, everyone has issues and problems to face, everyone makes mistakes and has success. I used to compare myself to others a lot and think ‘wow they have their life together’ or ‘how are they so happy all of the time’ but that’s not the case it’s just what you can see on the outside ...so it’s kind of an EP of self assurance and reminding myself that it’s ok to not have it together all the time because no one does as we’re all just human after all"

The EP is just the start for Bored At My Grandmas House "I’ve already got a few tracks which I’m thinking could be potentially for an album, I’d definitely like to do a bigger project next and have the sound I’d like in mind. I’ve recently just got a band together so hopefully when live shows are resurrected I’ll have a few of those!" 2021 is looking to be anything but boring for Amber Strawbridge.

“The album is a celebration of the natural world, an attempt at immortalising the deep, transcendent feelings I have when I’m outdoors. In times of heartache, grief, deep love, or confusion, I look to the natural world for answers. I’ve learnt to breathe out, and tune in. This is what came through.”

Originally released on cassette by Good Person Recordings in 2016, Impressive Almanac is the culmination of Dan Shaw's bedroom experiments making minimalist post-punk. The entire album was tracked by himself at home shortly after moving from Seattle to his hometown of Holyoke, Massachusetts. Dan did not yet have any backing band at the time. The album shines with his raw and unfettered creativity, repetitive DI'ed guitars, and disaffected yet deeply personal lyrics about the banality of modern life.

Shaw says of the record: "Sharing this tape with friends in the Western Mass DIY scene soon led to the formation of Landowner as a full band. Even though we're a real band now with a real drummer and everything, the drum machines and repetitive riffs of these songs still serve as an important reference point for the vibe we strive to attain in our music today."

The album was quite formative for Born Yesterday Records. Co-owner and now Deeper bass player Kevin Fairbairn met Dan at a show in Western Massachusetts. Dan gave him a cassette of Impressive Almanac. When Kevin returned from tour, he was eager to show it to me and I quickly became obsessed with it. A year or so later when we were discussing starting a record label, we both knew that Landowner had to be one of the bands we talked to first. This release will roughly mark the three year anniversary of Born Yesterday's first release, Landowner's Blatant.

Albums often try to evoke a time and place, few manage to do that with such startling effect as the unlikely collaboration, Leave the Bones, between the multi-generational Haitian band Lakou Mizik, and Grammy-winning electronic music artist Joseph Ray. “Haiti'' is a word that conjures up a lot of images, it is a country judged by many, most of whom have never set foot on its shores. But its history is rich, its people proud and defiant, and nowhere is that more evident than in its music. Culture is what defines the country - its drums and Vaksins (traditional horns) are symbols of freedom and pride, liberty and struggle, and represent the escapist joy of dancing. Leave the Bones paints a musical portrait, a fresh glimpse of an oft misrepresented country, that through Vodou chants, chest-pounding Rara dance tunes and contemporary protest songs, conveys the listener to Haiti’s spiritual heart, a place that remains a compelling mystery for foreigners and a source of pride for every Haitian.

DE’WAYNE has one goal and that is simply to take
over the world.
Starting in Houston and moving to Los Angeles,
DE’WAYNE is an alternative artist who is just as
inspired by punk acts like The Stooges as he is
hip-hop artists like Andre 3000.
DE’WAYNE’s debut album, ‘STAINS’, covers
personal topics like sex, politics and his pride and
struggles growing up as a black man in the United
States.
Recently DE’WAYNE has received airplay on radio
stations such as Sirius XM Alt Nation, KROQ,
WRFF, WNYL and more, as well as being covered
by publications like MTV, Hot Topic, Alternative
Press and NME.
DE’WAYNE has also recently been featured on
singles by Waterparks, Anti-Flag, Point North,
Masego and more.
For fans of Waterparks, Yungblud, Grandson.
LP pressed on red vinyl.

Standing in the Doorway: Chrissie Hynde sings Bob Dylan.
The songs were recorded in lockdown by Chrissie and her Pretenders bandmate James Walbourne, almost entirely by text message. James would record an initial idea on his phone and send it off to Chrissie to add her vocal, before the tracks were mixed by Tchad Blake (U2, Arctic Monkeys, Fiona Apple). The nine-track album will be released via BMG on 21st May.
Speaking about how the album came together and its inspiration, Chrissie says:
‘A few weeks into lockdown last year, James sent me the new Dylan track Murder Most Foul. Listening to that song completely changed everything for me. I was lifted out of this morose mood that I’d been in.
I remember where I was sitting the day that Kennedy was shot - every reference in the song. Whatever Bob does, he still manages somewhere in there to make you laugh because as much as anything, he’s a comedian. He’s always funny and always has something to say. That’s when I called James and said, ‘let’s do some Dylan covers’ and that’s what started this whole thing.’
Standing in the Doorway: Chrissie Hynde sings Bob Dylan includes Chrissie and James’ versions of In the Summertime, You’re a Big Girl Now, Standing in the Doorway, Don’t Fall Apart on Me Tonight and Tomorrow is a Long Time.

‘321?’ is the debut EP from MILYMA, released on foundation.fm’s freshly minted label foundation.fm Records.
MILYMA is the multi-instrumentalist and multi-linguistic musician, vocalist and producer with a bright year ahead of her.
Real name Milena Mayordomo, the rising star is based in the creative city of Basel in Switzerland and was born in Germany to Spanish parents. Her music explores the experimental fringes of pop that nods to hip-hop as well as classical, with her cascading arpeggios at the heart of her music making. Her world building capabilities with both music and visuals, place her amongst avant-pop creators like FKA Twigs and Smerz. Her intricate and intoxicating productions show us that MILYMA is already a master of her craft, bringing her thrilling EP ‘321?’ to the table, this Basel based artist is proving to be one of the most exciting acts to burst on the scene. After launching a new era for foundation.fm, both label and artist are sure to go from strength to strength.
This 4-track EP is printed on 140 gram 12” black vinyl, in 200gsm printed card sleeve.

It may be his fifth album, but Saturday Night, Sunday Morning marks the start of chapter two for Jake Bugg. Arguably his most complete and coherent record to date, Saturday Night, Sunday Morning manages to combine a love of ABBA, the Beach Boys, Supertramp and the Bee Gees, with a contemporary pop sound: one that’s already spawned his most ubiquitous song in years via euphoric lead single, All I Need. “I knew what I was looking for this time around,” the 27-year-old says, firmly. “And I feel like I accomplished it.” It’s almost 10 years since a two-fingered Bugg burst onto the scene with his eponymous debut, one that topped the UK album charts and saw the then 18-year-old from Nottingham fêted as the next Bob Dylan. A Rick Rubin-produced follow up, Shangri La, quickly followed. But progress stalled with Bugg’s third, largely self-produced, record, On My One, in 2016. “I was having a hard time on that third record,” Bugg admits, five years removed. “The support from the industry wasn’t what it was. All those people telling you how great you are weren’t there anymore. It does feel like the rug’s been swept from under your feet.” What that record provided, however – along with its comparatively stripped-back follow up, Hearts That Strain (2017) – was a much-needed course corrector: one that set Bugg on the upward trajectory he finds himself on today. “When I came to terms with that was when I left the ego at the door,” he says. “It didn’t work out. But it led here. And this is probably my strongest record." It’s testament to Bugg’s rediscovered confidence that Saturday Night, Sunday Morning – a nod to the debut novel by Nottingham author Alan Sillitoe – sees him working with some of his highest profile collaborators to date, most notably American songwriters Andrew Watt and Ali Tamposi, best known for their work with pop heavyweights Post Malone, Dua Lipa, Miley Cyrus, Camila Cabello. “I was looking for how I can incorporate my sound for a more modern era. And I kind of struck gold working with Andrew Watt and Ali Tamposi,” Bugg says. Convening in LA, the first track the trio wrote together is the jealousy-inflected About Last Night, a song about the “insecurities you go through as a young person in a relationship with someone.” “It’s got such dark undertones, which I love,” Bugg says, of a song that showcases a newly discovered, Beach Boys-esque falsetto. “But it’s also very, very pop. That’s what I’ve always loved. With ABBA, with Supertramp. I love pop music. But when you can get it to be dark, I love it even more.” It’s a trick the trio repeated again on Scene, Bugg’s personal favourite from the album and a song that best encapsulates the combination of old and new: Watt’s George Harrison-esquire guitar brushing up against contemporary melodic choices by Tamposi. “I love writing with her,” Bugg says of the Havana hitmaker. “She brought that women’s perspective. And I knew that I’d got that balance of what I wanted. That old school chorus with contemporary verses. That to me was my favourite song when I wrote it, and it still is.” Perhaps the biggest example of Bugg’s newfound ego-less approach to writing, however, came in the shape of Downtown, a song that grew from an idea by Jamie Hartman (Celeste, Lewis Capaldi, Rag'n'Bone Man), and sees Bugg deploy the higher range of his voice to ethereal, ’60s Bee Gees effect. “Usually, the initial spark of an idea comes from me. And when it doesn't, it sometimes loses my attention,” Bugg admits. On Downtown, however, he relished his role as arranger: “Because there were a lot of moving parts and chords, it was almost like a puzzle,” he says. “I’d never approached a song like that before. “What I’ve been enjoying on this record is the collaborative process,” he continues. Working with people, writing with people. Because I’ve realised all I really want to achieve is to be the best writer I can possibly be. And I think by working with other people, it allows you to learn a lot as well.” It’s a theory Bugg has put to the test during lockdown, when he was approached by his manager about writing the soundtrack to an upcoming documentary, The Happiest Man In The World, about Brazilian footballer Ronaldinho. “It’s kind of a completely different experimental outlet,” Bugg explains of his first ever score. “I approach my own work quite professionally. But with this I can just switch off and go into a different world. And it’s been brilliant – I’ve had to learn different styles of guitar: bossa nova, samba. It’s a bit Vangelis, who’s probably my favourite artist – which may surprise people.” Possibly. But you get the impression that surprising is what Bugg likes to do. “I don’t like to be stuck doing the same thing,” he admits. “And that’s what this record Saturday Night, Sunday Morning was. I wanted to push myself. I’m always learning new influences. I’m careful not to get stuck on the same thing. “It’s not going to be right every time. It’s not going to be good every time,” he continues. “But if that’s the process it takes to get to this record, where people are loving the songs again, then that’s the journey we have to take.” For Jake Bugg, chapter two starts now. New album ‘Saturday Night, Sunday Morning’ is out August 20th on RCA Records

Produced by Gary Paczosa (Alison Krauss, Dwight Yoakam, Gillian Welch), Ferrell's Rounder debut, Long Time Coming, due August 20, features a stellar line-up of musicians, including country royalty like Chris Scruggs, Billy Strings, and her long-time collaborator Nathan Leath (a fiddle player she first met at the American Legion Post 82's Honky-Tonk Tuesday). Growing up in West Virginia, the singer/songwriter/multi-instrumentalist left home in her early 20s to journey across the country with a troop of wandering musicians. After years of living in her van and busking on the streets of New Orleans and Seattle, Ferrell moved to Nashville and started landing gigs around town. Soon enough, her magnetic live show drew the attention of Rounder Records, who signed Ferrell in 2019.

Revolving around three Magma members (Jannick Top, Joel Dugrenot et Yochk’O Seffer), Speed Limit has put out two cult albums during the 70’s, paying homage to Miles Davis’ Bitches Brew as well as Nucleus’ Elastic Rock. Mixing jazz, progressive rock, avant-garde pop, classical and Zeuhl music has never been a problem for the French septet, and even though its name sounds pretty obscure for the mainstream amateur, every French underground music lover sings praises about the band

This is the first official re-release on vinyl under licensed courtesy of BMG Rights Management,UK, remastered from an original master copy out of the vaults of BMG, originally released in 1972 on Bronze Records.

Co-founder of Colosseum in 1968 with Jon Hiseman, he knew from his Jazz Club years as drummer for Georgie Fame, Dick ran through this group's hectic recording and touring schedule for over 3 years until November 1971, when it disbanded.

In his late 30s at that time, on top of his musical shape, he moved on to start recording on his first solo project, with material left over from Colosseum days (written by D. H.-S., Clem Clempson and Jon Hisemann) and new material jointly composed with well-known lyricist Pete Brown. He recruited the help of Colosseum mates, Hiseman, keyboardist Dave Greenslade and vocalist/bass player Mark Clarke, plus the brilliant ex-Elton John group Caleb Quaye (Hookfoot) on guitars and Rob Tait (ARC, Battered Ornaments) on drums; old pal G. Bond is featured providing remarkable moog work on 'Pirate's Dream', funky organ on 'Moses In The Bullrushourses' and sharing piano duties with Gordon Beck (G.B. Trio, Nucleus) on 'What The Morning Was After'; Paul Williams (Juicy Lucy) gets the lion share of vocal duties, and Chris Farlowe and Chris Spedding (Nucleus, Battered Ornaments) have respectively a sole vocal and a guitar spot on 'Pirate's Dream'.

The album track by track:
Side one starts with 'Future Song', the track that really rises above the other tracks here. The guitar, vocals (by Mark Carke) and sax are great on this one. Killer sax 2 minutes during an excellent instrumental interlude. H.-S. sounds slightly eastern-influenced on his outstanding sax lines. Such an uplifting track with it's repetitive riff and hard, driving sound! Next is 'Crabs', starting off in a mellow way with Greenslade's piano and reserved vocals as the sax joins in followed by guitar and drums as it builds. Irresistable! Great vocals by Paul Williams. One could easily imagine both tracks on a Colosseum album. 'Moses In The Bullrushourses' is uptempo, owing just as much to jazz, blues and hard rock. Great groove! Lots of organ here to send shivers down your spine and perfect guitar playing. 'What The Morning Was After' opens with some sax excursions as the drums help out. Acoustic guitar by Quaye and powerful vocals by Paul Williams take over as the piano joins in. Our second favourite tune on here after the opener. A folky song really until it picks up half-way through.

Side 2 opens with the 11 minutes 'Pirate's Dream', with Farlowe on vocals and Spedding's initial rock blues riff, but soon evolving to a complex multi parted composition in the best spirit of Valentyne Suite, driven by Hiseman multi faceted drumming. D. H.-S. twin saxes soar on a calmer mid section with Spedding doubling the licks and the bass grumbling relentlessly behind; it slowly gains speed with moog, sax and vocalizations duelling and answering each others with dazzling, demanding and inspired phrasings on top a thundering rhythm section; after the lyrics resume it evolves into a majestic, grandiose finale. A bluesy clean guitar lick opens 'Same Old Thing', a swinging, calm heavily modulated twisted blues, with a punchy rhythm section, a soulful Williams on vocal, Quaye delivering an inspired sparkling solo and D. H.-S.'s sensitive fat sax enhanced with some double tracking on the solo part. A great ending to a great album.

Album comes with the reproduction of original gatefold cover sleeve, additional cover-sized insert with band story, lyrics and photos. A highlight! Highly recommended!

Vistas announce their sophomore album ‘What Were You Hoping To Find? ‘
with their second track of the year ‘Stuck In Your Head’ - an indie ear-worm
that’s arrived just in time for the summer.
This latest offering comes not long after their hotly anticipated return ‘Start
Again’, and paves the way for a busy schedule of releases prior to their album
release, due Aug 2021.
- Debut album #21 in OCC album charts - September UK tour 90% sold out
- Bristol, Manchester (Academy), London (Heaven), Birmingham, Leeds, Newcastle, Glasgow x2 (Barrowland and Ballroom), Huddersfield
- Outdoor advertising (from August 16th): Billboards in Camden London,
Glasgow, Edinburgh, Dundee, Perth. + album flyposting in London, Glasgow,
Cardiff + Pavement Stencils (cities TBC)
- TRANSMT FESTIVAL: 60x40 drums & billboards around festival site, 10-12
September

Artvertisement is Bradbury’s third album and second release for ANTI-,
following his critically acclaimed 2019 LP Talking Dogs & Atom Bombs.
Bradbury wrote Artvertisement while touring in support of Talking Dogs, and
recorded the album at Trace Horse Studio in March of 2020 over the strange,
anxious handful of days between Nashville’s devastating March 3rd tornado
and the start of the COVID-19 shutdown.
The title Artvertisement was inspired by Bradbury’s difficult experiences navigating the polished, often soulless Nashville music industry, where record label
executives would laud his songwriting some going so far as to call him a genius
but ultimately turn him away because his music wasn’t commercial.
While music is still his primary focus, Bradbury has leaned into working on visual art, which, like his music, draws out both the darkness and the humor of the
everyday. His art aligns aesthetically with his music. His portraits are abstract,
while his smaller sketches veer more toward humor and commentary. He sells
his art on a “pay what you want” model, explaining that he is as happy to sell a
painting for a nickel as he is for five hundred dollars.
It may not be the kind of financial model that lands him a high-rise office overlooking downtown Nashville, but that’s always been the antithesis of what
Bradbury is about. “Do no harm but take what you need,” he says.
“Holding on to success, holding onto money... What does it matter? We’re all
going to die someday.”

Music

LTD. BLUE SEAGLASS WAVE TRANSLUCENT VINYL

Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." Dorian Lynskey May 2021

Mause makes his debut release on npm with a stunning 4 track EP entitled ‘XOR’.

Starting with ‘LocriLogAcid Seq’ serving up soothing melodies that make you want to drift away on the dance-floor. ‘SeqTuningMlog Acid1’ proves that Mause isn’t averse to switching up tempos and beats with a powerful, trippy acid induced journey.

The cleverly structured ambient and melodically complex ‘Strimsang Baecon4’is reminiscent of early Aphex Twin with pure electronic bliss whilst ‘Sunday Multi Acid Seq20d’ is a strong finish to the EP delving deeper within the realms of electro and acid techno.



c 3 Strimsang Baecon4



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’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

Schneider TM is the multidimensional music project of Dirk Dresselhaus which has been operating since the mid 90's. His latest opus is also his first for release for Editions Mego.

With an extensive catalogue under his belt, one may wonder where this one takes us? The 8 of Space orbits the realm of "pop" more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with "Skoda Mluvit" from 2006. In the age of scattered streaming listening habits The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an 'audio-movie'. The 'plot' revolves around a post-dystopian landscape which posits the make up of reality in the future.

The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological & technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic & digital possibilities that range from heavily processed acoustic & electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog & digital drum machines & effect units, hardware and software processing. Experimental & extended musical techniques build a world of musical elements that is sometimes upside down and mirrored. Electric guitar becomes rhythm machine & modular system, voice becomes sound object & synthesizer, effects are used as instruments, acoustic guitars are being modulated by voices etc. Reality and illusion are getting mixed up. One can hear short moments of longer recordings in the tracks which are snapshots of bigger musical pictures that lurk behind what's actually audible. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms & cascades based on the concept of chance attributed to the service of the SONG.

The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the 'I' or 'me' is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalised voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. It can be seen as a post-human, or even a trans-human character, a combination of human & technology, uncertain of the future, which lends iBot it's melancholic tone.

In the opening song "Light & Grace" iBot appears in an advanced form of AI, which managed to hack & hijack a commercial space travel program (eg, Virgin Galactic) to invite those rich, who profited most from the destruction of planet earth, for a holiday trip into space to unknowingly fly them directly into the middle of the sun. In this episode it seems to have developed higher ethics than humanity itself with ambition to save the planet with as much of its cooperative life as possible."Light & Grace" serves as an intro / opener for this album to be followed by 7 other tracks featuring different windows of consciousness represented by diverse characters & protagonists.

All the elements on The 8 of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it's own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.

Mara TK, a golden voiced, Maori-Scottish world-wandering citizen of Aotearoa (New Zealand) announces his debut solo album 'Bad Meditation', released 7th May on Extra Soul Perception. Stepping out on his own, Mara TK is the former frontman of the acclaimed Kiwi future soul trio Electric Wire Hustle. Written and produced by Mara himself, 'Bad Meditation' is his 13 track opus, a deeply personal account of heritage, love, loss and healing.

An alumnus of Red Music Academy in Toronto, Mara TK's work beyond Electric Wire Hustle has seen him collaborate with critically lauded names including Om'Mas Keith of Sa-Ra Creative Partners, Detroit producer and J Dilla collaborator Waajeed, and Steve Spacek.

Extra Soul Perception is a collaboration and community music platform that started life between the UK, Kenya and Uganda but is now continuing to grow and connect independent musicians worldwide. Now with Mara TK added to the roster, Extra Soul Perception has released music by Lex Amor, K15, Maxwell Owin, Lynda Dawn, Hibotep, Karun, Labdi, Faizal Mostrixx and more.

*Nb: The solo version of 'Met At The River' is a digital exclusive only.

Concentric Records presents Radiant, the third compilation of its introductory release trilogy. Featuring music by ASWA, HOLOVR, Max Loderbauer, Petre Inspirescu, Supply, The Waves, William Selman, the album evokes luminous, iridescent and ethereal sonic spaces - a journey that overcomes struggles, spinning upward towards the light.

The album opens with calm, bright and assertive tonalities, evoking mental spaces prone to exploration and wondering. Molecular textures and real-world sounds bring us closer to an intimate and physical sphere, a voice. Ultimately everything dissolves into a synthetic domain of acid-like washes, in a cinematic sense of departure.

MAX LODERBAUER has been an active engineer, producer, and musician across four decades. He first came to notice in the late ‘80s as a member of Fischerman’s Friend. Known then as Daimler Max, Loderbauer’s associates included Stephan Fischer and Tom Thiel, as well as producer Thomas Fehlmann. Once the group went dormant, Loderbauer and Thiel established Sun Electric; one of the leading sources of entrancing downtempo and ambient techno through the ‘90s. During the 2000s and 2010s, Loderbauer collaborated in numerous settings, including NSI with Tobias Freund, Chica & the Folder with Paula Schopf, and Moritz von Oswald Trio with Vladislav Delay and Moritz von Oswald. Loderbauer was partly responsible for some of the most progressive and experimental electronic music released during these years. In 2011, he and contemporary Ricardo Villalobos assembled Re: ECM, a project that involved radical transformations of ECM label recordings by the likes of Bennie Maupin, Christian Wallumrød, John Abercrombie, and Arvo Pärt. More recently he consolidated the collaboration with Ricardo Villalobos via the Vilod project, and with Samuel Rohrer and Claudio Puntin as Ambiq - both described as ‘a fertile patch of inspiration, shaking up the principles of minimal techno with the loose, expressive qualities of jazz’. The album opening track - ‘Harmonic’ - feels like a glowing dream. Composed of stunning electronics in a polychromatic, blinding and shimmering light; harmonious interwoven melodies calmly wind down invoking a serene mental state and grounding peace.

WILLIAM SELMAN was the very first artist ever approached by Concentric Records prior to the label’s birth, back in 2018, following his defining release ‘Musica Enterrada’. A musician and multimedia artist currently based in Portland, Oregon, his work employs analogue and digital synthesis techniques, live percussion and instrumentation, and his own rich field recordings to create compositions and sound art focused on the ideas of place and environment. Selman's recent works have been released on Mysteries of the Deep and Hausu Mountain.

PETRE INSPIRESCU is an extremely versatile composer. As co-founder of the legendary RPR Soundsystem together with Rhadoo and Raresh, he mostly produced club-ready, heavily textured takes on tech-house and minimal techno. In 2015 he released his first album on Mule Musiq, considered a significant departure from his previous work, scoring piano, strings and woodwind instruments for the first time, resulting in a set that sat somewhere between ambient and neo-classical. Since then, he continued to explore further sonic territories, adding in vintage synthesizers and occasional nods to dub techno, resulting in melodious sequences of musical movements that relate to the work of classical composers, American minimalists and ambient legends. ‘The Garden’ is a dreamy, intimate and nature inspired composition, recorded in his home studio in Ibiza sometime in the Summer.

DJ and producer SUPPLY (youngest so far on the label) was born and raised in Gießen, within sight of the skyscrapers of Frankfurt am Main, and has been living in Berlin since 2017. Musically socialised through hip hop, he found his connection to electronic music produced in Chicago and Detroit in the 90s by moving to FFM in 2013. For almost 6 years he has hosted his own events in his hometown. His productions connect the dots between hip hop, retro futuristic movie soundtracks and techno, he recently released on YAY Recordings. ‘Inhale / Exhale’ was created during a time of stress and mental tension, partly self-inflicted, partly result of my surroundings, as it turned out in retrospect. The track tries to capture a moment of taking a deep breath by releasing that tension for a moment. I came up with the first sketch one night around 4am, the final arrangement found its way onto a C60 Chromoxid Cassette - inhale - exhale.’ - Supply

THE WAVES is a post-punk and synthwave-inspired project led by Maayan Nidam, that places her vocals at its front and centre. As a musician obsessed with sound and the technology behind its creation, her workflow places a strong focus on the studio environment. Triggering chain reactions between guitar pedals, drum machines, modular synths and acoustic instruments, generating sounds in unpredictable ways. Drum machines keep a steady groove as to give support to an array of guitars and synthesisers, all topped with The Waves own, mostly unmasked, lyrics and voice. ‘Hold On’ was written by Maayan during the 2020 pandemic as she dived deeply in studio work in Berlin. Her lyrics are featured as part of the art print insert, and have became a central statement to the LP and its narrative - the power to hold on and break through.

Jimmy Billingham's HOLOVR project has racked up various releases on some of the most forward-thinking electronic music labels over the past few years, including Firecracker Recordings, Likemind, Further Records, Opal Tapes and his own Indole Records. Though best known for melodic, drifting acid techno and electronica, he's equally at home crafting textured ambient soundscapes. HOLOVR's deeply emotional synth passages and pads will take you on a journey into the outer. 'Melancholy of Time came out of a period exploring ways of producing and recording outside of the grid-based structures that I was previously working with. I wanted to strip it back to what I often find to be the emotional core of a piece of electronic music - ebbing and flowing synth pads - but to push and pull it a bit to create a slight disjointedness, unpredictability and shop-worn texture, as if it's coming apart and fraying, yet retaining a sonic clarity. I recorded it live using looped and layered synth phrases, underpinned by a layer of hiss and pin-prick textures. I find reflections on time and its passing to be a recurrent feature of my work, both in a more straightforward way of harking back to music of a certain period or pieces of equipment but also in a more abstract sense of creating a feeling where time doesn't matter - a deep feeling of now; that escape that you find in music and other ecstatic experiences. Though of course we’re always in - and running out of - time, and hence the melancholy.’ - Jimmy Billingham

Hailing from the German underground scene, ASWA aka Attila Fidan has an intricate, hypnotic style of electro, techno and ambient. Coming from visual arts and not primarily a trained musician, Attila produces under various and multiple monikers: ‘I never really start out knowing which moniker the track will be made under’. Since 2017 he runs a boutique Berlin label named ‘Tape Archive’. ‘Dust Palace’ is a synthetic piece that resonates with a cinematic vastness, closing the LP in an uplifting tone that evokes new departures and new beginnings.

Damiano’s 'PETE' is indebted to those feelings of anticipation for nightlife to return, nowhere is that fell more than his beloved Robert Johnson (where he's resident) and with a new chapter about to start this summer D's trio of heartfelt ravey corkers couldn’t come at a better time.

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70’s and 80’s. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

The documentary Hitsville: The Making Of Motown’, featuring Motown founder Berry Gordy and many of this artists, will premiere in cinemas across Europe this summer as well.






RELEASE: 23-7-2021

MOV proudly presents new Collected compilation albums in collaboration with Universal Music. Motown Collected is the first one, available as a limited edition of 3000 numbered copies on white vinyl. It includes an insert with photos and credits.

Peaky Beats, Pinder, & Hurrell debut their first ep as Northern Division (Sub Label of PBR)

Doubled as a Leeds family collaboration with Spin city on the B-side.

Speed garage from the heart of Yorkshire to get the summer started.

Limited to 500
No repress
Hand stamped with love
140g vinyl

The United States vs. Billie Holiday, in which Andra makes her feature-acting debut staring as Billie Holiday, will shed light on the innovative vocalist's embattled years as a target of the Federal Bureau of Narcotics--the unit sought to imprison Holiday on drug charges, a retaliatory action given her dedication to singing highly politicized songs like "Strange Fruit" and her efforts to integrate her audiences. In the upcoming film, directed by Lee Daniels and written by Suzan-Lori Parks, Andra stars alongside Moonlight lead, Trevante Rhodes.

Andra's iteration of the jazz-infused recording adheres to the cool, sultry stylings of Holiday's original. By stepping into her predecessor's persona, Andra brings the past to the present, adopting a vocal approach and musical sensibility that's nothing short of a classic.

The legendary Billie Holiday, one of the greatest jazz musicians of all time, spent much of her career being adored by fans across the globe. Beginning in the 1940's in New York City, the federal government targeted Holiday in a growing effort to escalate and racialize the war on drugs, ultimately aiming to stop her from singing her controversial and heart-wrenching ballad, "Strange Fruit."

Led by Oscar® nominated director Lee Daniels and introducing Grammy® nominated singer-songwriter Andra Day, The United States vs. Billie Holiday unapologetically presents the icon's complicated, irrepressible life. Screenplay writer Suzan-Lori Parks, the first African American woman to win a Pulitzer Prize for Drama, pens this intimate tale of a fierce trailblazer whose defiance through music helped usher in the civil rights movement. NAACP Image Award® Nominee Trevante Rhodes and Emmy® Nominee Natasha Lyonne co-star along with Garrett Hedlund, Miss Lawrence, Rob Morgan, Da'Vine Joy Randolph, Evan Ross, Tyler James Williams, Tone Bell, and Erik LaRay Harvey.

You have never heard of Janet Beat. She has been making beautiful electro acoustic work since the early 1960s. Loads of people tried to stop her making music, people like her parents and male musicians who probably felt threatened by a talented woman in their post war male dominated electronic field. Her music has not been issued before. It’s here now, you lucky people. And no, I have not made her up.

Janet Beat does not make beats. She makes sublime electro acoustic music, much of it sounds like the music from Forbidden Planet, or maybe music just beamed in from another planet. Her early 1960s tape work was all destroyed by her father when he used her tapes to hang up his tomato plants. What a bastard. Anyway, her late 1970s and 1980s work has survived, and here it is for the very first time. And before you start asking questions about the title of this LP, I asked Janet Beat if it was OK. I spent ages trying to think of a good title, but then looked at the superb photo of her in her front room (the one on the LP front) and my mind was made up.

The Cold Stares will release their new album "Heavy Shoes" on August 13, 2021 via Mascot Records.
"Heavy Shoes" will be available on CD Digipack w/ 12 page booklet and 180 Grams Shiny Gold Vinyl w/ printed insert.
The great state of Kentucky is world renowned for many things. Bluegrass music? Of course. The smoothest, best-tasting Bourbon created by the hands of man? It doesn’t get any better. One thing that folks don’t always associate with Kentucky however is visceral, in-your-face rock and roll. The Cold Stares are determined to change that perception.
Chris Tapp and Brian Mullins have known one another for a long, long time. They grew up in Western Kentucky, just a stone’s throw from the border or Indiana, and attended different High School mere minutes down the road from one another. They originally started playing together in their early twenties before going their separate ways only to reunite in another outfit a decade down the line. “We were playing together in 2009 in another band that was doing really well,” Tapp said. “It didn’t work out, so we both kind of exited that band and contemplated retirement.” It didn’t take long before they were thankfully disabused of that notion.
That band is an intense amalgam of Led Zeppelin meets Free, Soundgarden meets Black Crowes; rock and roll wizardry where the riffs are hard, the vocals are searing, and the low end is capital “H,” heavy. Most of the album was recorded in a single day at Sam Phillips fabled recording studio in Memphis. “That’s our second record there, so there was a lot of familiarity going back in,” Mullins said. “The thing about that studio is that it’s old, and vibey. Sometimes you gotta bang on the gear a little bit to make it work. It’s kinda like the Millennium Falcon. It’s badass, but you just gotta get it running right.”

‘Heavy Shoes’ is Cold Stares’ best record yet, and they know it. It took a lot of blood, sweat, tears and doubt before Chris Tapp and Brian Mullins reached this moment, but it’s all the sweeter knowing they did it their way. “We’ve been through some tough times, and I’d say our band is a pretty good representation for blue collar people in general. People that work hard. We’re just a blue-collar American rock and roll band.”

Reissue of Corinne Bailey Rae’s debut self-titled album originally released February 2006. Debuting at No.1 on the UK Albums Chart and Featuring four top 40 singles such as ‘Like A Star’, ‘Trouble Sleeping’ and ‘Put Your Records On’ which reached number 2, reissued for the first time since 2006 this release also features bonus track ‘Another Rainy Day’. The album was certified triple platinum by the British Phonographic Industry (BPI) and has sold over four million copies worldwide. “Put Your Records On” & “Like a Star” were both nominated for Grammy Awards in 2007/2008 for Record of the Year and Song of the Year. Pressed on 180g heavyweight vinyl, a D2C offering of a black and brick red vinyl is also available.

Reissue of Corinne Bailey Rae’s debut self-titled album originally released February 2006. Debuting at No.1 on the UK Albums Chart and Featuring four top 40 singles such as ‘Like A Star’, ‘Trouble Sleeping’ and ‘Put Your Records On’ which reached number 2, reissued for the first time since 2006 this release also features bonus track ‘Another Rainy Day’. The album was certified triple platinum by the British Phonographic Industry (BPI) and has sold over four million copies worldwide. “Put Your Records On” & “Like a Star” were both nominated for Grammy Awards in 2007/2008 for Record of the Year and Song of the Year. Pressed on 180g heavyweight vinyl.

“Hitting Hard” originally released in 1977 by Epsilon Records is widely regarded as one of Aguabella's seminal works, with its “street-style” rare groove fusing Brazilian, salsa, Latin jazz, and funk flavors. Playing with a talented cast of heavyweights including San Francisco vibist Nerio De Gracia, the dynamic Cedric Deon Bi on vocals, and percussion great Armando Peraza. With original copies still fetching a pretty penny in the secondary market, this limited reissue of essential Latin jazz-funk is a worthy addition to any record collection.

Nadja is a duo of multi-instrumentalist Aidan Baker and bassist Leah Buckareff—active since 2005—and making music which can be described as ambient doom, dreamsludge, or metalgaze. Nadja’s signature sound combines the atmospheric textures of shoegaze and ambient/electronic music with the heaviness, density, and volume of metal, noise, and industrial.
For their new album, Luminous Rot, the duo retain their overblown/ambient sound, and explore shorter and more tightly structured songs reflecting their interests not only in metal, but post-punk, cold-wave, shoegaze, and industrial.

Thematically, Luminous Rot explores ideas of 'first contact' and the difficulties of recognising alien intelligence. This was in part inspired by reading such writers as Stanislaw Lem and Cixin Lui -- in particular, theories on astro-physics, multi-dimensionality, and spatial geometry in "The Three Body Problem" -- as well as Margaret Wertheim's "A Field Guide To Hyperbolic Space," about mathematician Daina Taimina's work with crochet to illustrate hyperbolic space and geometry.
The album was recorded between their home studio, Broken Spine Studios, or Nadja’s live rehearsal studio, both in the district of Lichtenberg, Berlin. Luminous Rot marks the first album mixed by someone else, who in this case was David Pajo. The band comment, “as big fans of Slint, we thought he might fore-front the more angular, post-punk elements of our music - the mix is quite different from our previous albums. But, as usual, we had James Plotkin (Khanate, OLD, etc) master the album as we trust his ears and aesthetic, as he's mastered numerous records of ours.”