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2001: Guillaume Atlan is nominated with 'Starlight' at the MTV Awards in the best French artists category. 20 years later, the first generation French Touch (Modjo, Demon, Cassius, Stardust, Etienne de Crécy etc.) is almost gone. Among the few still active, The Supermen Lovers, who will release his fourth studio album, 'Body Double', end of May.

A reference to Brian de Palma's film and its perfect plastic, the disc bears witness to the many artistic encounters and tumults of love that feed Guillaume during his trip to Kyiv from 2018 to 2020. Love can move mountains but can also destroy a man. Demons and emotions will make him go back to the studios, firstly in Kyiv, which reminds him of Paris in the 90s : strong energy, a thirst for discovery, creation and pure spontaneity. Straddling 2 musical bodies, the heart of Body Double balances between vocal electro-disco and clubbing, without forgetting this analog/digital jumble dear to Guillaume. He is an electro producer, a DJ, but above all a multi-instrumentalist. Machines in contact with “real” instruments…

This is a licensed release of the rare and very much in demand SUFFERER by THE KINSGTONIANS.

It was initially released on the Move & Groove label in Jamaica in 1968 followed by Big Shot in the U.K. in 1969.

It was also featured on the eponymous album released in 1970 on Trojan Records TBL 11.

It was reissued once only on 7inch vinyl as part of the Trojan’s Monkey Business 7" Vinyl Box Set.

“SUFFERER” is with "HOLD DOWN" (released by Harlem Shuffle in May 2020) yet another very much in demand Reggay anthem by THE KINGSTONIANS.

This cracking song combines bleak lyrics with a cheerful tune delivered on an uptempo, almost frantic rhythm…


This is a licensed reissue of the very rare 7" vinyl single track. Very much in demand,

it presently trades at about USD300 for a decent copy.

It was originally released on the 1969’s 7inch vinyl single The CRYSTALITES - SPLASH DOWN on New Beat,

a Pama sublabel. This gem has never been repressed on 7” vinyl until now.

SPLASH DOWN is in fact the wicked instrumental version of SUFFERER. This is the first time they are released together on a 7inch vinyl single.

It is the perfect flip for this killer double sider. Super rare and super good.

The Girl With The Gun for the first time on Ltd 7" Vinyl

Another dream come true! The first 7" ever to contain the three grooviest and most danceable tracks from the legendary soundtrack to La ragazza con la pistola, Mario Monicelli's 1968 cult film depicting the mod subculture of 60s Swinging London and starring Monica Vitti in one of her most iconic roles. (In the mid-90s two of the tracks were compiled in the seminal compilation Easy Tempo Vol. 2.)

Starting the party is Girl With The Gun, a mod-generation classic featuring a psych-funk rhythm section and an exotic-sounding theme played by a sitar. Next on Side A we find the danceable lushness of Shake Balera, a shake number clearly influenced by the London moods portrayed a couple of years earlier by Michelangelo Antonioni in Blow Up, with Antonello Vannucchi on Hammond and Carlo Pes on guitar (the piece was later covered by Calibro35 in their first album). Last but not least, on the flip is the super intriguing Rapimento in Sicilia, which opens with a spy-movie vibe before switching to a hectic dance of sitar, electric bass and wild percussion.

All tracks were written by Peppino De Luca and performed by his trusted and recurring musicians, the legendary super-group of Italian session players I Marc 4, who bring in their signature psycho-beat sound.

Highly recommended for diggers and DJs.

B-Side is one of the cornerstones of the german Instrumental-beats scene and has been here for a minute. His unique approach for cutting and programming drums made him well known and gave his music a very distinct touch. His last LP came out three years ago and since then he released a number of collaborations with other international producers, rappers and singers. But now it’s time to show the world his interpretation of modern Instrumental-beats. Of course is he a man of the classic retro jazzsound but his record „Inner Life“ is pushing boundaries to the next level. Rhythmical Trap patterns clash with head nodding Boom-Bap vibes. B-Side really took his time. Three years of constant work on the right sound for this album did certainly pay off. This Record takes you on a journey that is not your average sleepy sound. It is hypnotizing and straight up futuristic, both sonically- and productionwise. It just sounds grown up, but in a good way.

He gathered a bunch of his friends for some partial collaborations. Devaloop, TESK, OG Nuage, ØDYSSEE and Flitz&Suppe are really contributing to the whole picture of „Inner Life“.

While the world is busy chasing the right sound for playlists, B-Side made an album that will stand the test of time. Purely good music by an artist that is passionate about his art. He mixed and mastered every single track and also took care of the complete artwork himself with photos shot by Flitz&Suppe. INNER LIFE is released on The Breed's WE RUN THIS Records.

Midnight Runners comes to Razor-N-Tape with a 12" of Southern Hemisphere disco gold!

Harry Septiandry has been gaining traction with standout releases on Darker Than Wax and Star Creature under his Munir alias, and for his RNT debut he serves up four extra special reworks of obscure disco from his native Indonesia.

The source material would stump even the most savvy of ears, but Harry finds the universal in these rare gems, augmenting the grooves and preserving just the right bit of camp for super sunny spin!

Helsinki quartet OK:KO releases their third album "Liesu" with We Jazz Records on 15 April. The band, led by drummer/composer Okko Saastamoinen and including saxophonist Jarno Tikka, pianist Toomas Keski-Säntti and bassist Mikael Saastamoinen (of Superpostion & Linda Fredriksson "Juniper") is a scene favourite in Finland and has recently garnered some international attention with their melodic, dynamic and original approach. The OK:KO sound is adventurous yet accessible, and contemporary yet rooted in the lineage of acoustic small group jazz.

When listening to OK:KO, you can feel that their influences also come from out of the musical realm. After all, isn't this just how it should be? Making music from your own life. Here, you can tell that the landscape of rural Finland, its poetic, at times even melancholy beauty, is ever present. It's folk song country. But don't be fooled, these guys form a real flesh and blood jazz band. That means that the music just starts when the first note hits, and onwards from there, we're in for a wild ride.

Whether punchy like on "Anima", solemn like on "Arvo", or just trekking out there a skiing lane of their own like on "Vanhatie", what you'll get is pure OK:KO. Melodic, interactive, honest and forward-reaching contemporary jazz music. That is something we appreciate – a lot!

Vinyl editions available on opaque white / black vinyl, with inside-out 3mm spine sleeve and a polylined black inner sleeve.

What do you get when you combine "Canada's Dopest Female MC" (Exclaim Magazine) with Canada's Best Kept Secret? You get FREE: the debut collaborative MC/Producer project between Juno-nominated Hip Hop Artist Eternia and the criminally slept on Juno-Award Winning Hip Hop Producer Rel McCoy.

The first full-length release for Eternia since the critically acclaimed "At Last" with producer MoSS (Fat Beats Records), Eternia returns with all the slice & dice super-lyricism audiences have grown to expect from her, as well as a depth and simplicity that can only be attributed to the maturation of her certified veteran MC status. Rel McCoy expertly provides some of the most sophisticated, moving, soulful & dynamic production we've heard Eternia rhyme on, in the same vein as a Pete Rock or a Hi-Tek but with a sonic stamp all his own.

FREE is the sonic equivalent of a baptism: a first step towards wholeness and liberation. The album holds the tension between rebirth, faith and peace of mind juxtaposed with the day-to-day realities of anxiety, fear, uncertainty and failed relationships.

AUF TOGO is the long-time collaboration of Sasa Crnobrnja
(from In Flagranti and Mytron & Ofofo) and Clement Cachot-Coulom
(from The Fabulous Penetrators and Big Girls).

After multiple singles and EPs on Leng Records and SaS Recordings, including two collaborative EPs with the tentacular outfit Becker & Mukai, acclaimed by fans and DJs alike, most of their time has been spent writing, recording and bringing to life the 8 amazing tracks that form their debut album “Movements”.

“Movements” follows in the steps of Auf Togo’s previous releases and won’t disappoint the early fans, but it also offers a completely new proposition. Their signature blend of slamming percussion, driving bass lines, psychedelic guitar hooks, fat analogue synths are expertly mixed with new musical ventures across the tracks: from the louche Hawaiian jazz of Along The Dotted Line to the psych-funk of Pan Con Tomate, the electronic wanderings of Mexico to the cinematic intensity of Radical Departures.

The result is a spell-binding summer album, one to listen to on a coastline somewhere under the Mediterranean sun, and one that is not afraid to wear its many influences on its sleeve, from 70s psych-rock to Balearic Beat, Space Disco and Afro Beat. The scope of “Movements” is wide and proves a captivating and gratifying listen.
Debut album from supergroup with members of In Flagranti and Mytron & Ofofo Pressed on 12” vinyl with artwork drawn and designed by Award winning animator Erica Russell UK/EU marketing campaign led by Neighborhood and specialist press/DJ by Your Army, with previous support from Mixmag, Trax, Ransom Note, NTS, Bill
Brewster, Andrew Weatherall and more.

Repress, note new price. Black vinyl issue of the long sold out RSD compilation. Housed in heavy duty slipcase box. FOR FANS OF… Daptone Records, Big Crown Records, 45s, Soul, Funk, R&B. This is the follow up to our first volume of Soul Slabs, which is a collection of tracks from our 7” release series. For many of them, it's the first time they'll be appearing on an LP. Soul Slabs Vol. 2 is a collection of A-sides from the 7” catalog of Loveland Ohio’s Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, Kelly Finnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!

Orange Vinyl

Superb Ragga Jungle tune from Krak In Dub, remixing the famous OBF title "Mandela" sang by Mr Williams

first part of the tune brings the remix and second part brings the instrumental.

For the 50th year of the release of NEU!'s debut album, Grönland Records is releasing this genre-premiering milestone from one of the great cosmic bands from West Germany in two super-limited special formats as picture disc and cassette.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album now!

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album now!

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

white vinyl repress

jamesjamesjames hovers somewhere between Y2K house and super-sugary PC music, creating a unique and sexy sound that just feels expensive. The Melbourne-based artist has built a large following with poppy earworms and pounding house, and now joins Shall Not Fade's Classic Cuts series for a full EP of hits.

james2007EP starts with the anthemic "It's Not You, It's Me"; pairing the rumble of jungle breaks with melancholic, airbrushed vocals that show their SOPHIE influence, it's an eye catching opener. "My Purple iPod Nano" has a sound palette which will transport you straight back to a 00s club night, teasing a climax that stays just out of reach with pumping synth stabs and a kick drum that packs a punch.

On the B-side, "Orange Tesla" is a high-pressure roller that centers a pacey melody - sure to be a 3am dancefloor energiser. The record closer, "I Dunno Her", brings back the emotive edge with spaced out pads and glittery little ear candy moments overarching the still-racing beat. Ballad-like vocals that are barely perceptible add depth. This EP showcases jjj's talent for catchy and clever hybrid music, which is sure to make him one to watch.

Unrestrained by notions of style or genre, there is a distinct air of freedom that permeates Picture Music, the new project from André Bratten. On what is his fifth album, the electronic visionary didn't enter the studio with the notion of making a particular type of record. Conversely, it was viewed as an opportunity to simply create - to let the music take over and guide the journey. Bringing together sparse strings, meditative synths, lingering piano chords and fleeting field recordings, the result is a collection of captivating sonic vignettes - deftly assembled into something profound and endearing. Eschewing the darker, more abrasive elements of most recent LP Silvester, Picture Music features some of Bratten's most accessible and melodic music to date - a shift in outlook no doubt expedited by the isolation of multiple Covid-19 lockdowns. These minimalist compositions ruminate on how the past two years have forced people to reconsider the concept of "normal life", as well as the birth of Bratten's second child - an experience he describes as "like death in reverse". The album title is taken from a compilation on the legendary Sky Records, a label that has been an enduring source of inspiration for Bratten along with that of Klaus Schultze's Innovative Communication. But rather than mimicking the work of these electronic luminaries,Picture Music sees him forge his own path: one that uncovers beauty in the simplicities of everyday life. Norwegian electronic artist André Bratten released his debut album Be A Man You Ant on Prins Thomas' Full Pupp label in 2013. He has since released three albums on Smalltown Supersound, and more recently produced Cracks, the acclaimed project from avant-garde saxophonist Benedik Giske. On June 10th Bratten returns with fifth studio album Picture Music.

Zum 50. Jahrestages des Albums erscheint ”Madman Across The Water (50th Anniversary Deluxe Edition) ” in vier verschiedenen Formaten. Alle Formate enthalten Bob Ludwigs definitives Remastering des Hauptalbums von 2016.

Die Super Deluxe Version (3CD/1BR) enthält 18 bisher unveröffentlichte Tracks, seltenes Material aus dieser Zeit, Klavierdemos des Albums und den Originalton des 1972 ausgestrahlten BBC-Konzerts Sounds For Saturday. Die Blu-Ray enthält einen 5.1-Mix von Greg Penny sowie die Sounds For Saturday und seinen Auftritt beim Old Grey Whistle Test von 1971. Die Tracks des Super Deluxe CD/BR-Sets werden auf dem 4LP Set erhältlich sein.

Das Box-Set enthält einen ausführlichen historischen Essay mit Interviews mit vielen, die an der Entstehung des Albums beteiligt waren, sowie Erinnerungsstücke und Kunstwerke aus dem Rocket-Archiv.

Das Album erscheint als 2CD, Ltd. 3CD + Blu-Ray und Ltd. 4LP Vinyl Box.

Tape

Collaboration by Italian composer Giovanni Di Domenico (Die Schachtel, Superpang) & Japanese drummer Tatsuhisa Yamamoto (Black Truffle, Superpang).

Recorded at Hoshi To Niji studio, Kobuchizawa, Japan
& studio W and The Nest Cellar, Brussels, Belgium in 2021
Cello on A Murder by Emmanuel Cremer

To celebrate the 25th Anniversary on 25th March 2022, the diamond-certified GRAMMY®-nominated double-disc opus will be released as a 25th Anniversary Super Deluxe Box Set on June 10, 2022. The Life After Death 25th Anniversary Super Deluxe Boxed Set consists of 8-LPs and a commemorative booklet featuring rare photos from the album cover shoot, liner notes by Sheldon Pearce, and exclusive reflections from members of the team who worked on the original album release. In addition to the original album, it includes the Hypnotize 12”, Mo Money Mo Problems 12”, Sky’s The Limit 12”, and Nasty Boy 12”.

Life After Death features 112, Jay-Z, Lil’ Kim, Ma$e, Bone Thugs-n-Harmony and Too $hort, along with tracks like “Kick In The Door,” “What’s Beef,” “Notorious Thugs,” “Ten Crack Commandments” and “Sky’s The Limit,”. The album hit #1 on the Billboard 200 chart and the US Top R&B/Hip Hop chart. It went diamond in the U.S. alone, double platinum in Canada, and platinum in the UK. The album received a GRAMMY® nomination in the category of “Best Rap Album.” “Hypnotize” earned a GRAMMY® nomination for “Best Rap Solo Performance,” and “Mo Money Mo Problems” was nominated for “Best Rap Performance by a Duo or Group.” Among dozens of lists and retrospectives, Rolling Stone touted Life After Death among its coveted “The 500 Greatest Albums of All Time.” The RIAA has awarded the album a Diamond Certification for more than 5 million copies sold of the double-LP.

Belgian / New York supergroup Fievel Is Glauque comprises of jazz keyboard auteur Zach Phillips, angel-voiced singer / rapper Ma Clément, and whichever other virtuosic noodlers happen to be slumped about the place.

Their cult tape "God's Trashmen Sent to Right the Mess" is a sprawling epic of pop, hip-hop and country inspired jazz arrangements. 20 tracks that form a jenga tower of expertly placed jazz chords, interlocking, sliding and collapsing with a short and sharp punk sensibility - all recorded live to tape.

Recommended if you like Arthur Russell's heart-on-sleeve wonky horn arrangements, or the infectious home-made jazz-hop of Louis Cole. We've pressed 300 copies of "Trashmen" to vinyl, and we don't expect them to stick around for long.

Strictly limited to 10,000 numbered copies, pressed on MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition enhances the blockbuster work for today – and the ages to come. Surpassing the sonics of any prior version, it peels away any remaining limitations to provide a transparent, lively, ultra-nuanced presentation of a record that won six Grammy Awards – including prizes for Album of the Year, Best Male Rock Vocal Performance, and Best Rock Song. The expanse and depth of the soundstage, fullness of tones, natural snap and extension of the guitar strings, realistic rise and decay of individual notes, and roll of Clapton's vocals all attain demonstration-grade levels.

Housed in a deluxe box, the UD1S Unplugged pressing features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording and the reissue's premium quality. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the finishes.

Truly, everything about Unplugged matters. Having sold more than 10 million copies in the U.S. and more than 26 million copies worldwide, the 1992 work resonates with listeners of all generations and speaks a universal language. Recorded for MTV before a very small audience on January 16, 1992, the 14-track set became the signpost for future acoustic-based endeavours that witnessed artists of all stripes re-examining their catalogues and, in many instances, as Clapton does here, placing familiar originals in fresh contexts and unveiling spirited versions of cover material. Needless to say, Clapton's session turned MTV's series into can't-miss programming for which the likes of Rod Stewart, Tony Bennett, Nirvana, Pearl Jam, and more would soon participate.

Kicking off his performance with a spirited instrumental to establish the mood, Clapton immediately wades into the style that originally caught his attention as a British teenager in the early 1960s: American blues. Backed by a superb band that includes guitarist Andy Fairweather Low, pianist Chuck Leavell, bassist Nathan East, and drummer Steve Ferrone, Slowhand delivers a rhythmic, toe-tapping rendition of Bo Diddley's "Before You Accuse Me" that announces he's come to reconnect with his muse. What follows over the course of nearly the next hour stirs the heart, shakes the soul, moves the mind, and invigorates the senses.

Of course, there's no talking about Unplugged without keying in on "Tears in Heaven," the striking ballad Clapton penned about the death of his four-year-old son. More emotional, direct, spare, and healing than the studio version released a year prior, it crackles with an intimacy, maturity, poignancy, honesty, sweetness, and integrity that inform the entire concert. Indeed, how Clapton frames other favorites here – transforming "Layla" into a relaxed, comfortable stroll and ruminating on the seasoned ripples flowing throughout "Old Love," for example – indicate both a creative rebirth and gleeful acceptance of the next phase of his career.

And that very direction (two of Clapton's next three albums would be all-blues projects) is what really makes Unplugged so indispensable. Equivalent in mastery if not in volume to the output that earned him his "God" nickname, interpretations of Jesse Fuller's "San Francisco Bay Blues" (complete with kazoo!), Big Bill Broonzy's "Hey Hey," Robert Johnson's "Walkin' Blues" and "Malted Milk," and Muddy Waters' "Rollin' & Tumblin'" showcase a learned professor in his element and all the wheels turning.

In every regard, Clapton's Unplugged session was appointment listening when it came out in August 1992. With the arrival of MoFi's UD1S pressing, that sensation is more urgent than before.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.



SACD



Mastered from the original master tapes, Mobile Fidelity's numbered hybrid SACD enhances the blockbuster work for today – and the ages to come. Peeling away remaining sonic limitations to provide a transparent, lively, ultra-nuanced presentation of a record that won six Grammy Awards (including prizes for Album of the Year, Best Male Rock Vocal Performance, and Best Rock Song), it places Clapton and company in your room. The expanse and depth of the soundstage, fullness of tones, natural snap and extension of the guitar strings, realistic rise and decay of individual notes, and roll of Clapton's vocals all attain demonstration-grade levels. A perennial audiophile favourite, Unplugged now tosses its hat into the ring as a demonstration disc.

Bobby Oroza puts his desire for the profound on wax with his sophomore album Get On The Otherside. Musically, he has updated the formula we were introduced to on the first record. But lyrically, songs are bravely rooted in the more complicated, ubiquitous inner tangles of life like self-examination and coming to terms with the vastness of the human experience. With Coronavirus bringing the world to a halt, Bobby-a father and husband-had to do something. No tours to play or studio time to fill, Bobby found himself back in the construction yard, doing blue-collar work to provide for his family. "I was super grateful for the work-a lot of my colleagues didn't have an option like that," Bobby admits. More than a few personal hardships forced him to acknowledge and work through some brutal truths. And what came of it? Well, for one, this new record Get On The Otherside which pretty well describes what Bobby's been through: He had to demolish his ego, his old ways of thinking, and his tried approaches to anchor into a refreshed perspective with new understandings. As Bobby tells it, "I had to do some real self-searching, come to terms with what was wrong, and how much of it I was responsible for." So how does this translate to the new album? Moments of clarity as to where the real value in life lies on "I Got Love," encouraging numbers like the title track "The Otherside", and declarations of self actualization on "My Place, My Time." Even the more straightforward love songs are outside the box lyrically like "Sweet Agony" and "Loving Body." If you have never had the pleasure of catching one of Bobby's live shows you may have no idea that he is a maverick on the guitar. He lets us in on a little of that on "Passing Things" with a solo that possesses the same restrained and space that his lyrics do. As we'd expect, the songwriting still has that raw, direct edge to it. But an evolution has taken place. There are new points of view on familiar territory which in Bobby's words "For me to love, I needed to take a bigger view of love. One with less ego and more empathy" really hold true. The result is a record with Bobby's new found humility on full display and a message of encouragement to anyone who is struggling and can't see a way out. It still may be hard to nail down and define Bobby and his sound. He's no one thing more than the other. But what he's showing us now, on Get On The Otherside, is that we can also label him a soulful, philosophical optimist. Someone who can say a lot with a little, and who wants us all to know that it's us that has to do the hard lifting to truly live a life in love-both with the world and with yourself.

After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with Lasse Marhaug. An esteemed avant-noise artist, Marhaug envisioned making music that would fall loosely in line with Throbbing Gristle. Kelly, on the other hand, had planned to create something inspired by Enya, an artist who has had an enduring impact on her creative being. They met each other halfway, pairing tough, industrial sounds with ethereal celtic mysticism, and creating music that ebbs and flows between tension and release. One month later, Kelly called her label to tell them she had created something of an outlier, her `eighth album'.

Satiric glam band Steel Panther are known for their ridiculous concepts and hilarious lyrics, in combination with skilful musicianship. Their dedication to the concept caught on quickly and resulted in endless sold-out shows and commercial success. In 2011 they released their second studio album Balls Out, which features guest appearances by Chad Kroeger, Nuno Bettencourt and Dane Cook. Subtlety is not what this album is about, with titles such as “Supersonic Sex Machine”, “It Won’t Suck Itself” and “Let Me Cum In”. The album was even indexed in Germany and is only allowed to be sold to adults after request.

Von der Kritik u.a. als 'die größte deutschsprachige Band unserer Tage' bezeichnet, finden sich auf dem neuen Erdmöbel Album Titel wie 'Supermond', 'Bernoulli-Effekt' oder 'Das Vakuum', der Song zum Corinna Harfouch Kinofilm 'Alles in bester Ordnung'.

Musikalisch ein bisschen wie Beatles und Steely Dan. Warme Bässe, feine Arrangements, Streicher und Saxophon. Gut, vertraut, neu.

More Late 70s/early 80s Westcoast Yachtpop you can almost dance to!
Buoyed by the incredible love felt for TSTD Vol. 1 in summer 2014, Berlin's renowned pop archaeologist, that master musical excavator DJ Super-markt, has leapt straight back into the soft-top and been out digging for the lost gems you'll find here on Volume 2. This is another perfect collection of missing-in-action, late-70s/early-80s smooth, singer/songwriter, AOR-paced, yacht-based pop and blue-eyed soul. Every song brims over with that West Coast sunshine, and for Volume 2 we've dug even deeper into obscure corners of LA, London, even Cologne, to create an even more potent soundtrack to that lost world that's somehow always with us. So join us on another sunset trip as we soundtrack summer 2015 in the company of these lost luminaries. Bask in every detail of that glorious over-production, and recall an era when the music industry had the time, money and sheer musical talent to make everything BIG. Pay no mind to the cynics, the cooler-than-thou-erati, or the buzz kills of the sincerity police. These are big tunes that deserve to be hits, even if it's taken 40 years to get there, driving slowly up that winding California coast road in the wonderful warm summer air.

Adrian Quesada announces the release of ‘Boleros Psicodélicos’,
a sprawling and singular tribute to the golden era of balada music.
The brand-new album from the GRAMMY-nominated guitarist,
producer and Black Pumas co-founder serves as a celebration of
the super funky, slightly delirious and deeply soulful sounds that
transcended the cultural boundaries of Latin America throughout
the late 1960s and early 1970s.

Featuring vocals from Puerto Rican icon, GRAMMY-winner and
former Calle 13 member iLe, Colombian-American visionary
Gabriel Garzón-Montano, Mexican R&B star Girl Ultra, as well as
Angelica Garcia, Gaby Moreno, contributions from living legends
such as Marc Ribot and Beastie Boys musician Money Mark, and
many more, ‘Boleros Psicodélicos’ consists primarily of original
Adrian Quesada compositions, as well as covers of La Lupe’s
‘Puedes Decir De Mí’, Jeanette’s ‘El Muchacho De Los Ojos
Tristes’ and other balada classics.

All twelve tracks were produced, engineered, mixed and largely
performed by Adrian Quesada, honouring and extending the
influence of a personal obsession that he has cultivated over the
past 20 years.

Similar to his acclaimed 2018 album ‘Look At My Soul’, which
traced the deep roots and relationship between Latin and Texas
music, Adrian Quesada sees every song on ‘Boleros Psicodelicos’
as both a history lesson and a step towards a newly imagined,
more united future: “I always wanted to pay tribute to that sound
that I was already hearing in my head without realizing that people
had already done it. Balada changed the face of Latin music
forever. If something like that happened today, it would be normal
because everyone’s connected on Instagram. Think how powerful
this sound had to be for everyone to be connected through the
songs. As someone who grew up speaking two languages and
living on both sides of the border, I love how much music can
transcend barriers and boundaries. It really is a universal
language, especially back then.”

French vocalist, beatboxer, songwriter and producer Sly Johnson unveils 55.4, his much- anticipated fourth studio album, released on BBE Music. Hailing from Paris, Sylvère Johnson (Sly Johnson) is a major force on the French Hip-Hop, Soul and Jazz scenes, both as a solo artist and as a member of super-group SAIAN SUPA CREW for over a decade, where he was known by the moniker Sly The Mic Buddah. When the crew broke up in 2007, Johnson began to carve out an impressive career, releasing on Blue Note and Universal Jazz, as well as collaborating with Larry Gold, Roddy Rod, T3 & Elzhi from Slum Village, Georgia Ann Muldrow, Dudley Perkins, FINALE, Erik Truffaz, and legendary French rapper Oxmo Puccino among many others. Written and recorded during the first COVID lockdowns between March and May 2020, Sly Johnson’s fourth album blends Soul and Hip-Hop, twinning vocal arrangements reminiscent of Prince and D’Angelo with loose, supple, beats and jazzy chords. Most of the musical heavy lifting is done by Johnson himself, but the album features bass by Laurent Salzard, guitar by Ralph Lavital and Anthony Jambon, keys by Nicholas Vella & Laurent Coulondre and a spellbinding guest vocal by Jona Oak. Why 55.4? “It took 55 days of creation to make the songs of this 4th solo album” says Sly.

Sonor Music Editions present the first ever reissue of another Italian Library holy grail, fruit of the union between two of the most brilliant composers of Italian panorama: Alessandro Alessandroni and Rino De Filippi. "VACANZE" album (in English 'holidays'), was originally released in early/mid 70s on Sermi output, and is one of the most elusive records from the label out there. From refined Lounge music to stunning Jazz-Funk and groovy vibes, this album features an unbelievable set of the coolest themed music from the whole Library scene, with maestro Rino De Filippi's harpsichord on evidence in many tracks and soaring, loungy and dreamy moods throughout the entire album. A superlative recording, with an incredible sleeve design that has obssessed Library collectors for years, and for sure among the best releases from the gold Sermi label along with "Nel Mondo Del Lavoro" release just announced.

Fantasound is the fifth full length album from Slovenian Space Disco producer Ichisan. This debut LP on international label Gouranga Music follows recent singles Harmona and Margit Mono. Ichisan's sound is Space Disco Pop Bliss - swooshing synths collide with pulsing rhythms and twinkling melodies, creating a kaleidoscopic universe of pure joy.

The artist explains the process:

"The album was recorded during the 2020 lockdown period. In those long uncertain days I watched all kinds of movies and rediscovered the ‘1940 Fantasia' with my three year old son.

I started researching the story behind the production of the animated musical film and especially the sound production of Fantasia. Fantasound was a stereophonic sound reproduction system developed by engineers of Walt Disney and RCA. That is how I found the album title.

After the album was recorded I knew that the artwork must be related to Fantasia. I always had ‘The Sorcerer's Apprentice' in my mind as an inspiration for the album artwork. Mickey Mouse's dreams in the dark-blue space and Fantasia poster logo were guidelines. The illustrator Meta Wraber delivered the fantastic artwork in her signature watercolour technique."

'Fantasound' is a symphony of disco and italo rhythms, space synth waves and a happy-go-lucky driving rhythms. A sound that doesn't exist in the real world, the Fantasound is very much alive and in our mind during our happiest moments.

After teasing with several EPs, Ichisan blesses the world via Gouranga Music with the full Fantasound, an immersive ecstatic experience filled with twists and turns that will keep you on your Tip Top toes.

In 1987 Jennifer Warnes and Roscoe Beck created an enduring interpretation of some of Leonard Cohen’s finest mid-period songs. The

resulting album Famous Blue Raincoat has remained a touchstone of American pop. It’s a recording as beautiful as the songs incisive,

painstakingly created by some of the finest musicians and engineers ever assembled. It has rightfully remained immensely popular for

afficianados of sound and song-craft. Impex Records has enjoyed a long and rich collaboration with Jennifer Warnes. Back in print, an exclusive 33-rpm all-analogue vinyl LP of her ground-breaking classic.



Newly remastered by Bernie Grundman on his all-tube cutting system and personally supervised by Ms. Warnes,

Famous Blue Raincoat is ready to be discovered by a new generation of vinyl enthusiasts seeking the purest musical alchemy,

and vocal interpretation. Come see how far we’ll go for beauty.

Dynamite Cuts is proud to be able to press for the first time on 7” vinyl the explosive and super funky “I’ll say it again”. With it super funky cover art work. This heavy funk rock Groove and the powerful uplifting vocal from the wonderful Linda Tillery aka Sweet Linda Divine. This track is the back-bone groove for the Black sheep hip hop bands classic “Choice is yours”

Dynamite Cuts is proud to be able to press for the first time on 7” vinyl the explosive and super funky “I’ll say it again”. With it super funky cover art work. This heavy funk rock Groove and the powerful uplifting vocal from the wonderful Linda Tillery aka Sweet Linda Divine. This track is the back-bone groove for the Black sheep hip hop bands classic “Choice is yours”

To celebrate two years of release and 1+ million plays, Vice beats’ releases “That Love” on 7” for the first time, featuring a remix from the super talented UK based producer Smoove. That Love is taken from the only UK based official J Dilla tribute album to date - “Dilla - The Timeless Tribute” which reworks Miguel Atwood Ferguson’s “Suite For Ma Dukes”. “That Love” is a detail focused and passion led reworking of Slum Village’s, Dilla produced classic “Fall In Love”. The limited vinyl release sees both a black original 45 version alongside a very limited red version. Having received worldwide praise from tastemakers and pioneers of the scene including DJ Premier and Chuck D of Public Enemy, this is much more than a tribute, it’s a special piece of Hip Hop history, raising money for the James Dewitt Yancey Foundation in Detroit (setup by Dilla’s family). Profits from this vinyl support young musicians to develop their skills and opportunities. With original artwork from Nina Fini, and mastering from Cosmic Trigger, this is a must have for the collection.

To celebrate two years of release and 1+ million plays, Vice beats’ releases “That Love” on 7” for the first time, featuring a remix from the super talented UK based producer Smoove. That Love is taken from the only UK based official J Dilla tribute album to date - “Dilla - The Timeless Tribute” which reworks Miguel Atwood Ferguson’s “Suite For Ma Dukes”. “That Love” is a detail focused and passion led reworking of Slum Village’s, Dilla produced classic “Fall In Love”. The limited vinyl release sees both a black original 45 version alongside a very limited red version. Having received worldwide praise from tastemakers and pioneers of the scene including DJ Premier and Chuck D of Public Enemy, this is much more than a tribute, it’s a special piece of Hip Hop history, raising money for the James Dewitt Yancey Foundation in Detroit (setup by Dilla’s family). Profits from this vinyl support young musicians to develop their skills and opportunities. With original artwork from Nina Fini, and mastering from Cosmic Trigger, this is a must have for the collection.

Our man in London is back on the label! Exactly 1 year after his first release on Dirt Crew and two very successful records on
his own new imprint “Income Trax” and the New York based “Razor-N-Tape” label. Clive has been consistently growing his following this past year and refining his sound and production. So now we are truly excited to welcome him back, especially as this release will also be on a limited 12” vinyl.

The opener “Pearls” features the amazingly talented London based musician/ composer Jessica Roch on violin and vocals.
It’s an uplifting electronica meets deep house track that shines with positivity and beautiful melodies based on an analogue synth foundation by Clive himself. Truly a new addition to Clive’s musical language.

The A2 track “4 Time” is a swinging groover featuring a lush deep beat topped with piano and strings stabs and consisting of great funk all over. Followed be the super fun “Rough and Tough” as first track on then B side. Clive really gives us his new summer anthem here as far as we are concerned. Dance floor happiness guaranteed and we can’t wait to hear this one in an open field and on a big sound system!

As a treat for all fans, we decided to give “Gravitate” the well-deserved vinyl spot as the closing track to this great new record. This jam got massive support over the last months and is Clive’s best performing track on the digital platforms. Here we remastered it especially for vinyl and it sounds doper than ever! Enjoy!

All tracks have been mastered by Salz Mastering in Cologne. Art & Photography by Break 3000.

James LaBrie, international bekannt als Sänger der Progressive-Metal-Ikonen Dream Theater, begibt sich mit seinem vierten Soloalbum 'Beautiful Shade of Grey' auf unbekanntes Terrain. Auf dem neuen Werk verarbeitet er persönliche Reife, Verlust, eine Vielzahl komplexer Beziehungen und vor allem LaBries brennende Leidenschaft für die Musik. Auf dem Papier nahm das neueste Studiowerk des kanadischen Sängers bereits kurz nach dem Auftauchen der weltweiten Pandemie Gestalt an. Aber in Wirklichkeit hat LaBrie mit seinem Kollegen, dem Bassisten Paul Logue, schon fast ein Jahrzehnt zuvor eine Verbindung aufgebaut. Auf 'Beautiful Shade of Grey' geht es nicht darum, etwas zu erschaffen, das einer bestimmten Genre-Charakterisierung entspricht, sondern vielmehr darum, einen schönen Ausdruck in einer breiten Palette von Musikern zu finden und zu wissen, dass das Abweichen von vertrauten Gewohnheiten Teil des kreativen Wachstums ist. Erhältlich als Ltd. CD Digipak, schwarze 180g LP+CD sowie als Digitales Album.

Superchunk’s Incidental Music: 1991-1995 is the band’s second compilation of singles, B-sides, and EPs, originally released in 1995 shortly after their landmark album Foolish. It collects fan favorites from soundtracks such as “Shallow End” and B- sides like “On the Mouth,” as well as covers of The Magnetic Fields, The Verlaines, The Chills, and even Motörhead. AllMusic’s Fred Thomas says it all: “Incidental Music is an essential piece of the Superchunk discography and a snapshot of the band as it transitioned from the scrubby radiance of its early days into the more nuanced songwriting machine it became throughout the mid-’90s.” Exclusively for Record Store Day 2022, the double LP makes its first reappearance on vinyl since its original release, with LP1 on opaque green and LP2 on opaque orange housed in a gatefold jacket.

Out of the primordial chaos of pandemic and two years since their last full-length outing SUPERSAN, those sassy purveyors of World Dance of the highest calibre return with a bang. Duo's 3rd studio album soon to be released by Boom Selectah Records promises to turn heads and perk ears of the aficionados of Afro House but also has a potential to spill out from the niche and conquer the hearts of wider audiences.The album titled 'Little Dakar' is' the labour of love of two long time collaborators from Greece, Kostas and Valantis. This time their quest for musical purity and honesty is enriched and enhanced by stirring alliances. Scattered inside the audio-tapestry of this exotic wax flower you will find the vocals from 'the voice of Senegal' Jefree, and enchanting strumming from the fret of George Koltsiou. While rich traditions of Senegali music are particularly evident (and reflected in the album title), 'Little Dakar' goes far and beyond the sounds of a steamy Dakar Disco dancefloor. Finely tuned ear is in for a treat and could easily travel the distances between Senegal, Angola, Ghana, Uganda and Mali to name but a few. But you don't have to be an expert to fall in love with this album. The multidimensional colours of African musical heritage are easily accessible to a novice too as the references to better known House and Funk traditions could be heard loud and clear throughout the record.

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.