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Das Berliner Avantgarde Pop Trio Painting veröffentlicht sein zweites Album 'Snapshot Of Pure Attention' und gibt darauf der KI eine menschliche Stimme!

Eine atemberaubend unberechenbare Kollision aus Punk-Energie, Math-Rock Taktarten, treibenden Techno-Beats, expressiven Free-Jazz Saxophon-Soli, kraftvollen Synthesizern und sich überschlagendem Call-and-Response-Gesang: 'Snapshot Of Pure Attention' ist das berauschende zweite Album des Berliner Trios Painting. Es ist der zu Recht mit Spannung erwartete Nachfolger des hochgelobten Debütalbums 'Painting Is Dead' von 2022, für das sie vom Rolling Stone als die "tollste neue Band, die man gegenwärtig in der deutschen Pop-Avantgarde findet" gefeiert werden.

Aus einem vielfältigen Spektrum von experimentellem Rock über elektronische Avant-Garde Sounds bis hin zu Leftfield Pop, Techno und Jazz schöpfend, ist die Musik von Painting ein sich ständig veränderndes, erfrischendes Kaleidoskop von Klängen, das aus den engen Grenzen konventionellen Songwritings ausbricht.

In many ways this is The Monochrome Set"s él Records album. Definitely not a rock album, more eclectic, with influences spanning the 1920"s to the early 1960"s. On this Album Bid is crafting his skills as a songwriter: the minimalist "Cowboy Country" could be a Burt Bacharach song without the orchestra, "Sugarplum" a Hoagy Carmichael song but with a pop group, "Jacob"s Ladder" an early 1960"s twangtastic beat song. There is a tangible Latin influence throughout the album, even a little Flamenco, especially on the songs "Cargo" and "Don"t Touch", all with a feather light touch. The very sparse and light nature of the album probably worked against it commercially in an 80"s world of heavy drums, rock guitar and New Romantic synths. 40 years later the quality of the songwriting shines through.

Carrying on their longstanding dedication to the seminal output of Merzbow, Urashima returns with what is unquestionably their most ambitious release to date: “Collection 001-010”, a deluxe, 10 LP vinyl box set limited to 299 copies, gathering together the entirety of the project’s first ten releases, originally released in 1981. Encountering the band in its early incarnation of the duo of Masami Akita and Kiyoshi Mizutani, raw, exposed and bristling with energy, foreshadowing numerous trajectories they would follow over the coming years, these astounding full lengths - the majority of which have never been released on vinyl - come housed in a beautifully produced, deluxe wooden box, with each LP in its own individual sleeve reproducing the original artwork, and a LP-sized 32-page book containing reproductions of artworls and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore, and Akita himself, amounting to what is unquestionably one of the most historically significant releases we’re likely to encounter in 2025.

Deluxe Edition of 299 copies, remastered from the original analog tapes by Masami Akita, each LP comes in its individual sleeve reproducing the original artwork, also includes a LP-sized 32-page book. ** Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise. Bringing forth beautiful limited edition releases, they’ve sculpted a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Among the many projects that they have supported over the decades, there has been an undeniable dedication to the output of the seminal Japanese noise outfit, Merzbow, making a significant amount of the project’s out of print back catalog available across a range of formats. Now they return with what is arguably their most stunning and ambitious release dedicated to the project to date: “Collection 001-010”, gathering the entirety of Merzbow’s first ten releases, largely privately released by the band on cassette across 1981, in a deluxe, 10 LP vinyl box set. Representing what is effectively ground zero in Japanese noise and collectively amounting to some of the most sought after releases ever produced within that movement, Urashima’s truly beautiful collection comes fully remastered by Masami Akita himself from the original tapes, presenting all but a small number in their first ever vinyl pressings, with each LP housed in its own individual sleeve reproducing the original artwork, alongside a LP-sized 32-page book containing reproductions of artworks and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore and Akita himself. Towering with energy and groundbreaking creative vision, within the realms of noise and experimental music, releases don’t get more monumental or historically important than this!

Merzbow came roaring onto the Tokyo scene in 1979, and remains, to this day, one of the most prolific and aggressively forward-thinking projects in experimental music. Eventually becoming the solo vehicle for the efforts of Masami Akita, in its earliest incarnation the project was the duo of Akita and Kiyoshi Mizutani, taking their name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow pushed toward new territories of the extreme, arriving at a space of pure, unadulterated sonic onslaught that has continued, for over 40 years, to set the pace for the entire genre of noise, and has remained one of the movement’s most important, definitive voices, continuously laying the groundwork for countless artists who have followed in its wake.

When dealing with historical gestures, there’s an invertible aura surrounding original line-ups and early statements, and rightfully so. It is often within a band’s debut that we catch the purest glimpse of the raw energy and creative ferment that made them what they are. This is certainly the case when regarding the coveted early releases of Merzbow, capturing the emergence of the project in its form as the duo of Masami Akita and Kiyoshi Mizutani as they helped set the blue print from the then emerging movement of Japanese noise. Over the course of its nearly five decades of activity, Merzbow has always been noted for how prolific and ambitious the project is. This was no less the case in the very beginning. While they were active for roughly two years prior, in 1981 alone they issued ten self-released cassettes numerically titled “Collection 001-010”, albums which have both individually and collectively become holy grails in the realms of noise, with only two - “Collection 007” and “Collection 009” - ever receiving vinyl reissues prior to now.

As Lasse Marhaug deftly articulates in the newly commissioned liner notes for “Collection 001-010”, despite having been recorded in different location across a span of time, the sum total of Merzbow’s first ten releases might be best regarded as a single release to be listened to in the same, durational sitting, with the material standing well apart from what most came to expect from Merzbow, while foreshadowing numerous trajectories the project would take over the coming years. Not only do these recordings feature a vast array of instrumentation - tapes, acoustic and electric guitar, violin, drums, voice, recorder, organ, found sounds, clarinet, homemade and prepared instruments, a vast arsenal of effects and electronics, and piano, to only begin to scratch the surface - the majority of which would disappear from the project’s active sources of sound generation over the subsequent years, but there is a slow pacing and raw sense of openness and exposure that reveals strong connections to the avant-garde improvisations of groups like AMM, Musica Elettronica Viva, and Gruppo di Improvvisazione Nuova Consonanza, the psychedelia of groups like Taj Mahal Travellers and Flower Traveling band (both of whom Akita mentions having seen in youth within his interview with Jim O’Rourke), and rock in general - albeit in fully abstracted forms - unspooling as brittle, pointillistic, textural, raw and abrasive forms, that occasionally flirts with unexpected tonal sensibilities. As Marhaug describes it in his excellent liner notes: «Sonically, “Collection” sounds more sparse and stripped. It’s dry sounding, up-front, no reverb, and there’s less heavy low-end grime and thin on the signature frequency sweeps. Viewed in a 1981 context, musically, it’s more akin to what the LAFMS (Los Angeles Free Music Society) pool of artists were doing at that time than what was happening in industrial music... There’s a strong playfulness throughout, like the sound objects are being explored for the first time, without neither restraint nor hurry. Events are allowed to be fully examined before the music moves on, or simply cuts off. To a large degree, the music on “Collection” feels acoustic in nature, although a Electro-Harmonix ring-modulator features prominently throughout.»

Easily described as a rarely encountered revelation into the original and earlier documented studio sound of Merzbow, “Collection 001-010” collectively amounts to an engrossing sonic journey in its own right, while also allowing for important, often overlooked connections drawn from numerous other creative wellsprings, notably free jazz, underground rock, the output of European and Japanese avant-garde music, as well as Dada, Fluxus, and Mail Art, much of which, beyond the illumination made possible by the sounds, Jim O’Rourke’s fantastic interview with Akita, published in the booklet, further explores, offering great insights into the origins of Merzbow and the thinking behind the project, as well as aspects of the earliest days of Japanese noise.

Definitive remastered audiophile edition, restored from the original tapes. Deluxe gatefold sleeve featuring faithfully reproduced original artwork. Comes with an insert featuring exclusive notes by author and jazz specialist Kevin Le Gendre

Relive the timeless brilliance of Paul Bley's 1966 Rome session where bold improvisation, groundbreaking composition and heartfelt tribute redefined the art of jazz trio. BYG Records and Charly Records present the reissue of Ramblin', the seminal jazz album by pianist Paul Bley, originally released in 1969 as part of the iconic Actuel series on BYG Records. This definitive remastered edition invites listeners to experience the unparalleled artistry of Paul Bley's groundbreaking 1966 Rome session in unprecedented clarity. Recorded at Studio RCA in the Eternal City on July 1, 1966, Ramblin' captures Paul Bley alongside the rhythm section of double bassist Mark Levinson and drummer Barry Altschul. Together, the trio carved out a bold statement in the evolving world of jazz. With roots that include collaborations with luminaries such as Charlie Mingus, Art Blakey, Ornette Coleman, Jimmy Giuffre, and Albert Ayler, Paul Bley was a pioneer of improvisational interplay and unorthodox structures that continually pushed the boundaries of the genre. This session brims with vitality and innovation, featurioriginalng compositions such as the introspective 'Touching' and 'Albert's Love Theme', a heartfelt tribute to Albert Ayler. Carla Bley's tender and evocative 'Ida Lupino', written in honour of the trailblazing filmmaker, resonates with even greater poignancy following her passing in October 2023. Meanwhile, the album's title track, Ornette Coleman's exuberant 'Ramblin'' showcases a joyous yet rebellious spirit emblematic of this groundbreaking trio.

Since scoring a worldwide smash with her debut album Eye To The Telescope in 2004, which went on to sell over 5 million copies, KT Tunstall has remained at the forefront of UK singer-songwriter talent. After a period of healing, soul-searching, and a change of scenery, 2016 hailed the arrival of the first of a trilogy of albums, the critically acclaimed UK Top 10 album - KIN. The trilogy evokes, separately and in sequence, spirit, body and mind. With KIN being her Phoenix-from-the-ashes 'spirit' album, 2018 marks the second offering of that trilogy - WAX, her sixth studio album, her 'body' album.

Burning Bush Supper Club is the debut album by experimental rock outfit Bear Hands.

Third installment in the "CONDUCTOR WE HAVE A PROBLEM" series. Features Rome Streetz, Elzhi, Elijah Hooks, Domo Genesis, Russ, Benny the Butcher, Wiz Khalifa, Leon Thomas, Bishop Nehru, and Wiki. On 180 gram black vinyl. CONDUCTOR WE HAVE A PROBLEM, Part 3 is the fifth album by producer Conductor Williams, released on October 31, 2024. It is the third installment in the CONDUCTOR WE HAVE A PROBLEM series, following both the first and second installments, which were released respectively in March and November 2023. The album is also Conductor’s first vocal compilation, featuring guest appearances from Rome Streetz, Elzhi, Elijah Hooks, Domo Genesis, Russ, Benny the Butcher, Wiz Khalifa, Leon Thomas, Bishop Nehru, and Wiki. The Conductor described the album as “a take on deception” and “a play on textures via emotion as sound, anxiety, fear, and joy. These all derive from a similar place, and this album is a journey through it






[f] 6. Ecstasy [Freestyle] (feat. Russ)

R&B duo THEY. — songwriter Drew Love and producer Dante Jones — have developed a smooth, future-facing sound for nearly a decade. In the early days, it was simple; two artists aligning on an appreciation for '90s R&B, new jack swing, and the height of soul-sampling hip-hop. Jones making beats and Love on the lines, a basic, balanced, and open-ended setup, free from major label expectations (which they'd feel on their 2017 breakout Nü Religion: Hyena) and high-profile collaborations (explored on 2018's Fireside, 2020's The Amanda Tape, and 2023's Nü Moon). They're proud of every stop along their story, while hindsight and a fresh perspective after signing to Secretly-affiliate label drink sum wtr have afforded them some distance to reflect on where THEY. goes next. The answer is LOVE.JONES. Here the duo exudes a whole new energy by reasserting their artistry in its most potent and pure form, just Love and Jones, making straight-fire, love-making music indebted to the golden neo-soul era that gave us the namesake 1997 film. “Forget the features, forget bringing in the big producers and writers. It's really just a return to our original dynamic," says Jones. Refined and reinvented, THEY. have arrived at their boldest work, a stacked, high-energy collection celebrating Black art, culture, and "the intense feelings of Black love."

Wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! // Unlike anything else, this is THE high life music you've always wanted // Ceremonial music played with abandon and extreme intent, honoring the living and dead alike // Recorded on location in SW Madagascar by Maxime Bobo // “Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted - ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations – which last between three and seven days – cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this vinyl LP includes a 4-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.”

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

UV & Nenor link up once more and return to Fossils with three new edits that take the form of spaced-out deep cosmic chuggers. These are all classy tunes with an analogue edge, great deference to the classic synth sounds of days gone by but all with nice modern touches. 'Space Love' is a widescreen odyssey with sultry female vocals and a sweet theremin sound. On the flip, 'Shwag' has hazy pads and slowed down, rugged, sleazy drums and bass and then last of all comes 'GoGo Stomp' with another bubbly bottom end, squelchy bassline and weird but wonderful vocal sounds. A brilliantly high-grade addition to your record back.

Philoxenia Records boss man Luigi Di Venere continues to blur the boundaries between traditional genres with a new EP that takes its inspirational cues from the multidimensional nature of sound waves. The title reflects the depth and motion captured in the EP's stunning artwork by CGI duo muzzin+samiri while the opener is a tribute to early 90s Frankfurt EBM. 'By Means Of Music' is a more funky vibe with New Beat undertones and real warmth. 'Got Momentum' brings a French house edge and on the flip, Cromby transforms' Got Momentum' into a euphoric UK peak-time anthem, and Cycle_2 reimagine 'By Means Of Music' as a psychedelic techno trip.

Emily Jeanne presents quỳnh, her new label founded on psychedelic club music expressions. Call Of The Sea is the debut, 4 tracks unfurling experimental dancefloor movements of half step hypnosis and deep percussive explorations.

Loosely nicknamed “queen of the night” in Vietnamese, quỳnh thrives as a nocturnal flower. It serves as a light-hearted metaphor for Emily Jeanne and her authentic approach to late-night electronic music. Previous releases for PM+ explored devious peak time sounds, but her new label quỳnh launches with a fresh look. Its inaugural release Call Of The Sea showcases an adventurous new side to Emily, away from convention into something more ambitious and excitingly new.

Opener Wet Skin rumbles deep and quick with hypnotic fervour, plummeting kicks into its stark rotating abyss. Rolling taut, Count Me Out steps further with minimal guise as it moves sprightly on its reduced DnB dynamics. Đồ Sơn At Night unfurls differently, a change of pace where percussion and gurgling synths drift loosely down the track’s hallucinatory stream. Gone Water flexes stranger, its martillo polyrhythm transfixed heavily on the psychedelic chamber it inhabits. A fascinating first entry into the quỳnh canon from an artist in her finest form.

H.D. Reliquary is the first eponymous release from Ben Shirken a.k.a. Ex Wiish, and finds him returning home to his own label, 29 Speedway. The songs sparked during sessions with close collaborators - across 11 pieces, artists such as Pavel Milyakov, MIZU, Dorothy Carlos, Kevin Eichenberger and Muein breathe personality into the record. H.D.R. coaxes beauty from a serrated, raw, yet subdued palette drawn from improvised recordings of trumpet, violin, upright bass, cello, and modular synthesis.

The title references the hard drive as a sacred container for relics, contemplating how digitally archived fragments of one’s existence can burn eternally after death. Archives, and in this case recordings, splinter and warp. Some distort what they contain. Some vanish, and others are eternally preserved, immune to deletion. Your information on these digital drives becomes archival shrapnel, the music that survives the remnants of collaboration. Pieces of recordings were fed into a series of proprietary neural networks, generating MIDI information and audio that reacted to on-the-fly soloing, imaginary sessions between players and algorithms invented posthumously (in post).

Shirken will release H.D. Reliquary alongside a sound installation on April 11. Where his prior work was geared towards dissociation, H.D. Reliquary invites us to contemplate how our tools for understanding and containing the world fundamentally alter our relationship with it. He has performed in spaces such as The New Museum, Pioneer Works, Public Records and Nowadays in New York City; Dripping Music And Arts Festival in New Jersey; La Station in Paris; and Cafe Oto in London.

Renowned DJ and selector MURO is a Jedi-level compiler and this new collection of his delves into Victor's extensive archives to spotlight a world of Japanese jazz, fusion and AOR. It take sin plenty of internationally known names like Yasuko Agawa on the sunset sounds of 'L.A. Night', Sadistics who offers the more psyched out guitar leans of 'On the Seashore', Yuji Ohno's neo-Balaeric bliss-out 'The Dawn of Seychells' and Hiroshi Fukumura's soul soothing Ry Ayres-style melodies on 'White Clouds.' These are luxurious sounds and timeless tracks with MURO's signature funky perspective making this a brillaint choice for brighter, warmer days.

Boxset w/ 12" + 7" + Tape + Magazine, Posters

Embryo Issue 5 - Interviews and Mix series Exome
Quiet Husband
Jim KirkwoodSvartvit
Trenchfoot
Necropolis Festival White Centipede Noise Cryptworm Hyperdonitia
Crawl of Time
Night Terror Records Disengagement
Snet
Ineffable Slime
Marie Queau
Personal Hell

Natural Sciences Recs started in 2015 before mutating into the Embryo magazine series. Flesh Renewed marks ten years of the label with the fifth issue of Embryo. A light into the gutter of the fringe underground, through new tracks from the labels catalogue, 100 pages of interviews by labels and artists kicking against the grain and ties forged from the 80’s tape network. We invite you to witness the next stage of the evolution.





e A1. Osiris - Starlight Scorpio 1989 - 7"
f B1. SEEMEN - Floating Gently 1989 - 7"

Black Loops is an endlessly creative producer who has brought constant invention to house music since his first release over a decade ago. His widescreen sounds take their cue from funk, soul and disco and are underpinned by a love of 90’s grooves. They appeal to DJs and dancers alike which explains his constant demand for DJ sets around the world as well as his music being played and supported by the biggest names in the scene. After many years of vital 12"s and remixes, he now draws on everything he has learned and raises his levels with a fully realised debut full length album dropping 9th May, 2025.

Ahead of the LP we present the Experience EP which sees Jimpster and Black Loops himself deliver Dub versions of two of the LP’s highlights; Electrical and Experience. Jimpster kicks off with a stripped back, rolling Italo-inspired groover with touches of modular synth sequences, string stabs and dubbed out vocals. Black Loops follows with his own version keeping the funk factor intact with guitar licks, synth blips and extra fat, moog bassline.

Flip over for the original of Experience featuring Marlena Dae with it’s distinctly 90’s, Vogue-era Madge mood. Black Loops then proceeds to take it to the club on his Dancefloor Dub, stripping out the vocals and working up a punchy, minimal groove for the dancers. Closing out the release we have an exclusive original, not included on the LP entitled Inmasoul. Jazzy, deep beats are the order of the day here, making for a perfect warm up track to set the mood.

Auf "Warlord of the Weejuns" definiert er in Brooklyn geborene und im Südosten Londons lebende Rapper Goya Gumbani seinen Sound mit reichhaltigen Full-Band-Arrangements neu und verbindet Londons neue Jazz-Generation mit dem Hip-Hop-Erbe von New York City. Zu den Gästen des Albums gehören die ebenfalls in London lebende schwedischen Soulsängerin Fatima, lojii, Seafood Sam und Yaya Bey. Der Titel des Albums ist eine Ode an Miles Davis, den Goya für seine Leidenschaft für Musik und den allgegenwärtigen Stil bewundert, den er in jeden Aspekt seines Lebens einbrachte. Goya kanalisiert diesen Ehrgeiz auf diesem neuen Album, das mit üppigen Arrangements in voller Bandbesetzung aufgenommen wurde und seine eigene Stimme als Teil der Instrumentierung einsetzt. Mit Goya und seiner scharfen, mühelos geschmeidigen Stimme als tonangebendem Dirigenten des Albums bringt er eine Schar musikalischer Köpfe zusammen, um eine weitläufige, strahlende Sammlung musikalischer Vignetten zu schaffen, die die wortlosen Ausdrücke des Jazz und die meditativen Rhythmen des Reggae aufgreifen. In "Warlord of the Weejuns" geht es um Selbstbestätigung, Selbstwert und das schwarze Erbe, das Wissen und Macht von innen heraus manifestiert. Goya arrangierte seine einzigartige Vision mit Produktionen von Joe Armon-Jones, Swarvy, Franky Bones, Dan Diggers, Alejandro ?anchez, Maxwell Owin, Omari Jazz, Les Lockheart, Zalente und Ghostly-Labelkollegen quickly, quickly.

The Delights formerly unissued recording “Listen To Me Girl” first made it’s vinyl debut during 2017 when released back to back with Tearra’s modern soul anthem “Just Loving You” (SJ1008). Having sold out very quickly this release now commands a price of £60.00 a copy. So, with demand still high we have decided to release “Listen To Me Girl” for a second time with the addition of two recently found unissued master tape tracks, which make their vinyl debut as part of this 3 track EP.

The Delights story began in the early 1960’s while as a children’s group from Chester PA. known as ‘The Twilights’ they began entering local talent shows which culminated in a performance at Philadelphia’s prestigious ‘Uptown Theatre’ during 1963. ‘The Twilights’ made their professional recording debut in 1964 for Weldon McDougal III, Johnny Stiles and Luther Randolph’s Harthon Production’s label with “It’s Been So Long/She Put Me Down” (TW-34). A second Twilights 45 came in 1967 “Shipwreck/For The First Time” (TW-35) which sold sufficiently well to be picked up for national distribution by Cameo Parkway. The group consisted of four male vocalists, brothers Kemp “Toppy” Hill, Ellis “Butch” Hill (the eldest) and Jaime “Peanut” Hill and their friend Raymond, plus lead singer and only female member Brandi ‘Peaches’ Wells (born Marquerite J. Pinder) who was only 9 years old when she sang on the group’s first Harthon 45, (Jaime Hill reputedly never featured on either of the two Harthon 45 recordings).

The Hill Brothers were cousins of Manny Campbell and it’s through this family connection that the group came to Emandolynn Productions initially as backing singers before being persuaded by Manny to drop their former performing name of ‘The Twilights’, to become ‘The Delights’. Under Manny and fellow Philadelphian Charles J. Bowen’s tutelage they recorded the delightful crossover dance track “Listen To Me Girl” during the months of July and August of 1968. Recent unearthed master tape finds from these early sessions have since yielded the featured “Come And Rejoice” an energetic subtle gospel influenced dance track which Manny wrote and produced on them in the hope of giving them a wider body of work and appeal as he shopped their demos around local record companies. The original backing track to “Listen To Me” is also featured on this release.

During the mid-1970’s ‘The Delights’ under the tutelage of respected Philly producer, arranger and songwriter Morris Bailey Jr recorded two 45 releases for the Jamie/Guyden distributed Phil-L.A Of Soul label “It’s As Simple As That/I’ve Got Enough Sense” (PH-374) and “Face The Music/Things Ain’t What They Used To Be” (PH-379). Brandi Wells had left the group prior to the Phil-L.A Of Soul releases to firstly join Major Harris’s backing singers ‘Brown Sugar’ before forming the group ‘Breeze’ who backed fellow WMOT label stable mates Billy Paul, Fat Larry & Philly Cream (a.k.a Ingram). Breeze later evolved into the group Slick who recorded the self-named album which produced the chart hits “Space Bass” and “Sexy Cream”. In 1981 Brandi recorded her first solo debut album ‘Watch Out’ which reached #37 on the Billboard R&B Chart, her second solo album entitled “20TH Century Fox” followed in 1985 for the Omni label. She recorded the Butch Ingram penned “I Love You” 12” single for Butch’s Society Hill records in 1992. Sadly, Brandi Wells passed away in 2003 at the age of 47.

Techno tastemaker Enrico Sangiuliano returns to his influential NINETOZERO label with his bold new Transcendence EP featuring two very different but equally powerful sounds; one track is to dance to, the other one to listen to.

This new release caps off an impressive year for the Italian underground icon. Coming just a couple of months after his Interconnection EP and a packed season of headline shows, it marks yet another subtle evolution of his always hard-to-classify sound. The EP is a collaboration with psychedelic trance pioneers GMS, who have been making their mark since the 90s. The award-winning pair have had their music used in a trio of Tony Scott movies and have dropped several vital albums and EPs.

“GMS and I met many years ago in their studio in Ibiza and spontaneously cemented our relationship through our passion for sound”, says Enrico Sangiuliano. “They are a pillar of psytrance, and collaborating with them to interpret the concept of Transcendence was the perfect way for us to finally merge our creative visions. With this release, we transcend our individual musical paths to create something entirely new. We explore the theme of elevation, challenging ourselves to move beyond the tangible. Here, music becomes a portal, expanding consciousness and providing an escape from material reality. Together, we shaped our sounds to build an immersive experience, with a guiding voice to lead you through it. Transcendence is an invitation to let go, release mental constructs, and flow with the sound. It's a journey into a timeless realm where what you feel and who you are become one. To transcend is to connect with your deepest self—and beyond.”

Superb opener 'Transcendence' is a sleek and futuristic soundscape with dynamic drums that take you up amongst the stars. The smeared pads bring a cosmic atmosphere, the lush arps layer in plenty of trance-tinged emotion, and smart spoken words add a cinematic feel to this most escapist track. 'The Inner World' is then a suspenseful two-minute synthscape with wise spoken words that muse on inner strength. It is a rousing piece of emotional electronic grandeur.

The Transcendence EP is another strong statement from the forward-looking creative mind of Enrico Sangiuliano.

South Londons’ indomitable Medlar delivers an ambitious new album

The long-time underground favourite has collaborated with the likes of Dele Sosimi, Rebekah Reid, Deevoenay, Finn Peters, Sam Virdie, Afla Sackey and Arnau Obiols on an album that finds him taking his production to new levels.
From roots playing illegal raves in the South West to building up a cultured catalogue that bounces between house and garage, Medlar has long been part of the underground conversation. He has dropped a previous album and many innovative remixes and edits for the likes of Billy Cobham and Shirley Lites, worked in the studio and on stage with Afro legend Dele Sosimi and most recently released an album under his own name that collected myriad different sonic sketches from the past 15 years.

Islands is an altogether different proposition that comes after establishing himself as a mix engineer and producer of other people's music. In that time, Medlar has honed his skills, learnt new tricks and grown more able to express himself in sound. The result is an album that explores a more electronic palette inspired by '80s fusion sounds whilst maintaining a loose, organic flow through his use of live instrumentation. “The idea for the LP was for a collection of music which could sit alone as club tracks, but would work equally well as part of a whole. The name Islands came from this, as there's some connecting ideas but the tracks sit independently in their own little sonic worlds. I took a lot of inspiration from early 80’s electronic music produced during early years of MIDI technology… proto house, jazz fusion, electronic disco and experimental ambient. I wanted to juxtapose some of these methods with more contemporary production and make something that's ultimately quite fun!” says Medlar of the record which could easily soundtrack a summer road trip.

Across 11 tracks, he blends old-school techniques like a fusion of live instruments, FM synthesis and MIDI triggered vocal samples with more contemporary touches such as punchy, club-friendly drums and dub inspired, speaker-wobbling low end. The result is less reliant on samples than his previous works and makes for a perfect blend of retro authenticity and future freshness.

Long awaited, here is the 4th volume of the Mighty Mellow collecon, from the curators of the
seminal series The Mood Mosaic. Mushy funk, abstract jazz, including tacks of Pete Jolly, Annete
Peacock, Dusty Springfield among the others.

"Donald Duck, kill Minnie!" These words, ordered with urgency against a circular series of drum strikes and manipulated guitar/electronic textures, come over three fourths of the way through the album known as SYR 5 (aka "Olive's Horn"). While the words and sounds taken on their own may shock, their appearance within this collaborative effort between Kim Gordon (Sonic Youth, Body/Head, solo efforts), Ikue Mori (DNA, solo) and DJ Olive (We, solo) by this point in the album are not surprising. Taken on whole, SYR 5 sees its creators' respective histories forged in the 80s downtown noise scene, No Wave zone and Marclay-inspired club collide head on to create the audio equivalent of a slow-playing J.G. Ballard novel. Starting from the album's initial impressions where shimmering tones are interrupted by the sounds of winding clocks and bird calls before giving way to a cinematic sweeps of percussion, alien samples and blown out wasteland subs, the listener is constantly taken on a guided journey through a waking dream state where anything is possible. It is a world where dub samples, gurling beats and plaintive vocals (as only Gordon can deliver) fit together like the final locking puzzle pieces, the only elements needed to fully grasp a new reality. Re-appearing on vinyl for the first time in 25 years, these sounds have proven to be jaw-droppingly timeless. - Cory Rayborn, 2025

LP 1 is Original Reissue, LP 2 is the Instrumentals. This album, originally released in 2019, was highly lauded with esteemed praise, topping many Album Of The Year lists inlcuding NPR, Pitchfork, Rolling Stone, Time Magazine. This vinyl has been out of print and in high demand, repress is restricted to limited quantities and will be out of print again in under a year. Now includes a 2nd LP featuring the never before available Hiding Places instrumentals from Kenny Segal. Fully produced by Kenny Segal, (Project Blowed, Kenstrumentals beat tape Series, Happy Little Trees). LP has unique gatefold artwork by Myra Musgrove and features custom “oakwood” coloured vinyls. Hiding Places is a collaborative album from Brooklyn-based rapper billy woods and Los Angeles beat scene veteran Kenny Segal. As a label, we at Backwoodz take a lot of pride in our physical products; in creating original artwork that will stand the test of time, and in issuing limited-pressings that stay limited. We had always resisted repressing a piece of vinyl and even when the demand for Hiding Places built to a fever pitch during 2019, we stuck to our guns. Still, by the end of the year, as the AOTY nominations kept rolling in, we knew that we needed to do something. But we also were determined not to sacrifice the uniqueness of that first pressing. So we decided to commission all-new artwork, and press up the instrumentals as well and put it all together as a GATEFOLD 2XLP. So, on top of the best album of 2019, you get Kenny’s incredible instrumentals, available on wax for the first time! On its face, it seemed an unlikely pairing; woods who moonlights as ½ of dissonant rap duo Armand Hammer is a chaotic force, the warped relic of an NY indie-rap wave that never happened. Meanwhile, Segal has been in L.A. for twenty years; from paying dues with Project Blowed to pushing the culture forward with Busdriver and Milo. All the while, his soulful, dreamlike production precariously tethered to earth by the right drums or rumbling bass. But look closer and it makes more sense. After all, Segal lent his production to a couple of songs on Paraffin, Armand Hammer’s critically-acclaimed opus, and the two artists have more than a few shared collaborators: Open Mike Eagle, ELUCID, and Hemlock Ernst amongst them. Hiding Places finds both artists deep in the labyrinth. Segal’s lush soundscapes have a new edge, woods’ writing is, paradoxically, at its most direct. Hiding Places is a child’s game: funny and cruel, as brutal as a fairy tale. The album features familiar names from both artists’ well of collaborators with ELUCID, Self-Jupiter, Blockhead and MOTHERMARY making contributions.

After a little vacation Wellness Records returns - straight out of the spa area onto the much missed dancefloor! During the break a lot has changed and developed, hence the sound of Wellness also discovered new nuances. With the two young talents Pük & Oward, it turned out wonderfully. The English Pük on the A side manages to pack a very own eclectic variation of breaks, minimal and electro into two sonically top balanced and driving tracks. Both "Double E" and "Get Well Soon" captivate with their clarity, their deepness and their inherently unique coherence.

French Oward, on the other hand, creates a wonderfully fun and light-footed contrast on the B side. With "I Need A Rocking Chair" and "Center Of The Universe" it's almost impossible to keep your feet still. This inevitable groove-attack throws thousandfold ideas and details in the right spots and creates two fantastically arranged dance tracks. We are so happy and proud to present Wellness IV to you!

Seminal Afro-dub album "Dr. Afrodub" by Ghanaian Ekowmania aka Ekow Alabi Savage. The drummer, percussionist and singer who's played with Jimi Tenor & Kabukabu for more than 20 years explores the fields of classic Roots Reggae, Afro and Dub as well as uptempo modern African rhythms and ballads. This Jimi Tenor produced album is an expansion of Ekowmania's tribute song to Kwame Nkrumah (which is also released as 7" with different versions) and Tenor's electronic loops, which they developed into a full album in guitar player Lauri Kallio's country side studio in Kiikala, Finland. The album kicks off with a very heavy, club-ready and UK reggae-styled album mix of "Kwame Nkrumah", following up with 200% intensity on the voodooesque rhythm explosions of "Twerk Your Mind", then taking a 360 degree turn with the smoothness and laidback vibes of "Kiikala Reggae". Throughout its 9 cuts "Dr. Afrodub" always approach the balance of beautiful song writing and intensity in rhythm and melody, visiting the excellent and classically crafted 70's Roots tune "Dub Souljah", the upfront & tempo-fueled "Lagos Heavy" and ending with DJ Sotofett's mix of the albums ballad "Me Know".

CUT WITH EXCELLENCE BY TIMMION CUTTING LAB IN HELSINKI FINLAND.

Warodjah is the musical collaboration between Andrea Rausa (A.K.A. Afreak) and Massimiliano Troiani. The two Italian DJs and producers crossed paths in Rome, where they started sharing the mixing console and co-hosting parties in the Italian capital. They soon found a deep connection through their mutual passion for African music and electronic dance music.

On the A side, the title track, presented in both full-length and radio edit versions, pays homage to the rich heritage of African music and the storytelling tradition of African griots. Special guest Zouratié Koné, hailing from a Griot family in Burkina Faso, takes us on a sonic journey. With his masterful handling of a self-crafted Kora, he weaves dreamy melodies that dance freely above a progressing tapestry of drum patterns and ethereal piano chords.

On the flipside, a sumptuous house remix by DJ Fett Burger. Renowned for his diverse and eclectic productions with a lot of personality, delivers here 14 minutes of pure joy and bliss. Playing around with the original theme, and adds full of surpassing and groovy elements that draws you to the dancefloor and keeps you there! A fusion of hypnotic euphoric rhythm play, delightful melodies and a touch of house music as a feeling. A remix dedicated to the true era of the art of remixing! Original, creative and groovy

Edinburgh-based three-piece funk band High Fade are set to release their debut album 'Life’s Too Fast'.

Capturing the raw, on-stage energy that has been the driving force behind High Fade’s meteoric rise was never going to be easy, but that’s exactly what Harry, Oli and Calvin set out to do with a clear creative vision to record their album live at the iconic RAK Studios in London.

'We recorded in RAK Studios, with the desk built for the Rolling Stones in ‘76, with the same cigarette burns still on the faders. It instantly had a vibe of raw energy and liveliness to it that matched the way we wanted to record - live.' – Calvin

The result? 'Life’s Too Fast' – a blistering 10-track debut from one of the UK’s most exciting bands that manages to deliver the same tight, groove-laden funk rock that has put the group on the radars of Jack Black, Cypress Hill and Rage Against the Machine’s Brad Wilk, has seen them tour with The Cat Empire, and tick off iconic venues including Glastonbury, Jazz Cafe, and Boomtown Festival.

'We decided to record the album live rather than through the normal single track overdubbed method – we felt this would help to fully convey the band’s power, sound and energy across to the listener! More like we’re playing a gig and having it recorded – it was a tough process, but we went about it in the best way for both us and the audience, to ensure they’re getting the most authentic High Fade sound and experience possible.' – Oli

Having spent much of the last three years on the road seeing to a punishing tour schedule, 'Life’s Too Fast' is a chance for the band to stop and take stock, to reflect on their whirlwind success, and create an artistic milestone that demonstrates who High Fade are today. 'It’s the most accurate representation of what High Fade is, what we sound like, and who we are' explains Harry. Telling a clear story that matches their own experiences over the last few years, the album is a snapshot taken by a band who are accelerating towards real success and recognition.

'I’m glad we finally have a body of work that we’re proud of and feels like a collection of songs that nicely represents where we are right now. It’s organised chaos and shows that we like to play, but can also write a catchy tune.' – Calvin

Launching into proceedings with the effortlessly uplifting 'Take Me To The Floor', every track is a demonstration of the band’s technical prowess and broad sonic palette. A forward-facing selection of completely original material, the album also gave the band the opportunity to re-imagine fan-favourite 'Sharpen Up' as a stripped-back cut that reflects the band’s current lineup.

'Honestly, I kinda feel like I could explode with excitement about getting it out for everyone in the world to hear because it has been a long time in the making! A culmination of what all the singles have been working towards! I guess the album represents us and the direction we’re taking the music, it represents us as a trio and the gel that is High Fade.' – Oli

For Record Store Day 2020, Far Out Recordings presents a special 'poisoned vinyl' edition of Ivan 'Mamão' Conti's critically acclaimed Poison Fruit album. The 180g splattered colour LP is accompanied by an exclusive bonus 7” with a previously unreleased track from the original Poison Fruit sessions ‘Katmandu, and ‘Ninho’, a track never before released on vinyl.

From an artist in their seventies, you probably wouldn’t expect to hear an album like this. But Brazilian drumming legend Ivan ‘Mamão’ Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group’s ‘samba doido’ (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser known jovem guarda group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker ‘Jackson Conti’.

With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of rootsy electronic samba and tripped out jazz, beats and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London based producer Daniel Maunick (aka Dokta Venom) and Mamão's son Thiago Maranhão.

Take a bite of Mamão’s psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jung

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band.

The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

Can you squeeze Hip Hop, Latin Soul, Funk & Cumbia into a 7" single? YES YOU CAN!

Two years after the last release on his Juice on Wax label, countless collaborations and remixes for other artists, editing maestro Voodoocuts is back with two brand new tracks.

On the A-side, a boom bap anthem over an irresistible Latin soul groove will take you back in time, while on the flip, a spicy cumbia will set any dancefloor on fire.

Footshooter is the moniker of Barney Whittaker, a south London-based producer and DJ. His production style takes in influences from broken beat, jazz, house and more, working with rappers, poets and vocalists to create a soulful sound referencing the past while being firmly future-facing in its approach. His records as Footshooter and SAUL have earned airplay and support on BBC Radio 1 & 1xtra, BBC 6 Music, NTS Radio, Jazz FM and Rinse FM, from the likes of Gilles Peterson, Bradley Zero, Errol (Touching Bass), Alex Nut (Eglo Records) Shy One, Virgil Abloh, Zakia, Jyoti, Nabihah Iqbal, Bonobo, Jamz Supernova, Maryanne Hobbs, Mr Scruff and more.

His musically diverse live band sets and DJ sets over the past seven years have taken him to Boiler Room London, Tate Modern, Alexandra Palace, The Jazz Cafe and the Barbican Centre, as well as performances at Brainchild, We Out Here and Love Supreme Festivals. A Balamii Radio resident for the past 5 years with his monthly show 'Sonic Fruits', Footshooter's DJ sets are as versatile and wide ranging as his production credits, spanning the finest soulful house, broken beat, UK Rap, soul, jazz and beyond.

"This is the sound of London right now, and it is fantastic" - Juno Records

The Vendetta Suite is back to light up the early part of 2025 with a brilliant brace of singles on Hell Yeah. Kicking things off is a glorious acid house/disco thriller backed by a soothing out of body escape.

We’ve often referred to The Vendetta Suite as Belfast’s best kept secret, but with the quality music he keeps releasing he is rightly picking up ever more of a profile. The Hell Yeah regular has long been a key part of his native Northern Irish scene thanks to the way he mixes genres; ambient, post-rave Balearic, dub and acid house all in the mix with his own unique psychedelic magic.

First up is ‘The Jam Answer’, which taps into plenty of classic sounds but reinvents them for modern dancefloors. Bendy acid lines weave in between the dusty analogue drums, familiar acid house vocal samples and fizzing chord stabs bring the heat before a cosmic synth lead sings out with sunny soul. ‘Island Hill Microdot’ channels dreamy Chicago house, the futuristic styles of IDM with the blissed out warmth of Balearic. Carried along with gentle percussion, it’s an immersive soundscape that makes for the perfect tropical distraction.

Two very different but equally effective cuts from The Vendetta Suite.

Priori’s hit EP Pareidolia gets a well deserved remix treatment. The relation between Priori and Midgar started early 2023 with the release of his Pareidolia EP, where a remix for Keplrr followed quickly the year after. Now, early 2025, a group of close friends and admired artists were invited to rework the Pareidolia’s originals. Midgar affiliate Forest Drive West uses the opportunity to present not one but two remixes.
Presenting one half-time 85 bpm twist of Hazard and another slowpaced murky techno groover. Originally from Montreal, Maara forms the Canadian connection and she turns Memory Palace into a beautiful bouncy dub-techno floater. Sound experimentalist Notte Infinita takes his turn on Pareidolia’s title track and creates some magnificent eyesclosed drum & bass hypnotism. At last, Amsterdam’s upsammy brings back the light with her iconic playful approach. She flips the steady groove of Glass Shards into a jumpy interplay of rhythms and joy

FIRST STRIKE of TRSSX, co-founder of the Wodawater label and Glasgow’s underground club EXIT on ZHARK. An amalgamation of harmonic distortion and gruelling modular signals recorded live to embrace rawness and throw you off balance. Divergence versus sameness.Incongruity versus equilibrium Tautology versus chaos

Variophon is Philophon's newly established sub-label. As the name suggests, Variophon is designed to release variations, or more commonly expressed, remixes of songs taken from the Philophon catalog. The beginning on Variophon makes the all around the world beloved Jimi Tenor by remixing himself.

Jimi has chosen one title each from his two albums released on Philohon. From his first, "Order of Nothingness", it is the gently dancing "Myteria" and from his recently released "Aulos" the driving "Vocalize My Luv" (featuring Florence Adooni and Lizzy Amaliyenga). He electrified both pieces in his own very personal, subtle way in order to achieve what he does best: make people happily dancing!


b B1: Vocalize My Luv (Electric Remix) feat. Florence Adooni & Lizzy Amaliyenga

Celebrating 40 years of the legendary radio show "On The Wire" comes the first repress of "Bugs On The Wire", a collection of tracks donated by friends and associates, compiled by presenter Steve Barker and originally issued in 1987 on Leghorn Records via Skysaw. Featuring tunes from Dub Syndicate, The Fall, Lee Perry, Bim Sherman with Singers & Players, General Strike (David Toop + Steve Beresford), and The Suns Of Arqa with Prince Far I and more. A Lantern Rec exclusive.

Exclusive collection of the Jamaican reggae singer and DJ.: all the tracks are from the Clement Bushay production in the years between 1974 and 1979 and nener released on a single vinyl. “Born in Clarendon, Jamaica on December 3rd, 1951, Prince Jazzbo, also known as Linval Roy Carter, burst into the music scene with his hit "Every Nigger is a Winner" and followed it up with "Step Forward Youth." These songs catapulted him to international fame, leading to a successful world tour.

Upon arriving in the UK, Prince Jazzbo connected with me, that I was already making waves with artists like Louisa Mark, Owen Gray, Tappa Zukie and Zabandis. This partnership led to a fruitful collaboration, and I am excited to share some of the incredible music that came out of our work together. I hope you enjoy it.” (Clement Bushay, November 2024)

Reissued for the first time on classic black vinyl, since its original release in 1980/81, this pivotal minialbum from The Saints was a turning point for Chris Bailey's latter incarnation of the band, after the departure of Ed Kuepper. An exceptional piece of rock 'n' roll ephemera with spikey horns, like Iggy on an upbeat take from 'Kill City', or Mink Deville fronting The Heartbreakers. This 1981 timeless slice of swaggering bravado is Chris Bailey's Saints at their finest, it is released by the late singer's estate. "I can only simply repeat, for the record, that, in my opinion, the Saints were Australia's greatest band, and that Chris Bailey was my favourite singer." Nick Cave