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Since 1972, the group has remained quintessential bearers of the tradition, releasing
nearly two dozen albums that cast a wide net for inspiration and repertoire. Remains
to Be Scene is no exception, delivering stirring takes on bluegrass standards and
providing their signature interpretations on deep cuts from the likes of The Kinks, Bob
Dylan, and Jim Croce. The album is the first to be released since the passing of
founding member and trailblazing banjo player Ben Eldridge, who contributes
impassioned liner notes to the release. Beneath the album's title lies a plain truth:
more than fifty years in, The Seldom Scene are looking ever forward.
Original Seldom Scene are Bluegrass Hall of Fame inductees
"It goes without saying (but I'll say it anyway), the Seldom Scene is one of the most
influential and durable bands in modern bluegrass history." - Bluegrass Unlimited

Bárbara Salazar aka Barbarelle is an experimental multidisciplinary artist from Buenos Aires, known for her conceptual work as a DJ, creative director, and curator.

‘Celesta’ marks Barbarelle first foray into composing and producing her own music; a debut that reveals the intimate, heartfelt territories of her creative universe. The culmination of years of composing for herself - ‘behind closed doors’ - ‘Celesta’ is a deeply personal, self-guided masterstroke of beguiling, free-flowing ambient soundscapes and DIY electronics. With ‘Celesta’, Barbarelle artfully transitions from ardent music aficionado to fully-fledged artist, unveiling an enchanting sonic world that has quietly matured over time.

‘Celesta’ is an exquisite odyssey of sound, assembled from fifteen tracks recorded between 2022 and 2024 in Buenos Aires and Los Angeles. Conceived as spontaneous and intuitive explorations, many of these tracks were recorded in one take without technically-minded premeditation. The product of organic experimentation rather than concrete intention, ‘Celesta’ is an authentic, candid record of emotions, memories, and profound interiorities.

Over time, the pieces in this tapestry found a common thread: a conversation with the ethereal, defined by emotional intensities and softly spoken utterances. ‘Celesta’ is an invitation to immerse yourself in soundscapes that merge to the point of dissolution, evoking the transparency of water and the lightness of a dreamlike world that transcends matter. Like the song of a siren, the voice becomes just another instrument, beyond language yet full of significance. A collection of songs that feels like opening a secret diary; a direct pathway to the centre of the heart.

In addition to her work as an artist, Barbarelle is the founder of Atlas, a platform dedicated to active listening through radio, live performances, listening sessions and more. She is also known for her radio show of the same name on Dublab, where she shares her unique approach to sound with eclectic selections and interviews with the likes of Air, BADBADNOTGOOD, Lucrecia Dalt, Juana Molina & more.

Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann (SML, Anna Butterss, Duffy x Uhlmann, Perfume Genius), Josh Johnson (SML, Jeff Parker ETA IVtet & New Breed, Meshell Ndegeocello, Anna Butterss, Leon Bridges), and Sam Wilkes (Sam Gendel, Louis Cole, Chaka Khan). The three improviser/arranger/producers' impressive individual credits encompass such a wide stylistic pendulum swing that a collection of group music from the trio could mine any number of musical territories with masterful results. I n these 11 instrumental songs, the trio explores a spacious lyrical curiosity that could b e described as a jazz-informed take o n progressive electro-acoustic chamber music.

Conceived during two live shows at ETA and a session at Uhlmann's house in Los Angeles, the album maintains a focus on beauty, melody, and rhythm as the pieces unfold, with the trio pushing their instruments and highly-dialed effects to sculpt otherworldly sounds with the collective sensibility o f a rhythm section. The ethos of these instant compositions is arrangement-minded improvisation that showcases the mournful beauty of Uhlmann's fingerpicked electric guitar, the hybrid rhythm-lead of Wilkes' bass chording, and the textural harmonic worldbuilding of Johnson's effect-laden alto saxophone.

Electronic pioneer Sasha links up with Artche for dramatic new single 'Hold On', Artche also provides his own version of the track.

Last Night on Earth founder Sasha sits in his own world after more than 30 years of innovation as a DJ and producer. His meticulously crafted sounds have constantly redefined the underground, and with this label, he has spearheaded the melodic movement with his own music and careful A&R of exceptional contemporary talents. This latest release finds him working again with Newcastle-based producer and vocalist Artche, who has already collaborated to great effect with the likes of Franky Wah and Cristoph on Eric Prydz's Pryda Presents and also released solo on SHÈN Recordings. His mix of deep house and techno has won fans like Pete Tong and Lane B, and he asserts his skills once more here. Says Artche of his return to LNOE.

The fantastic 'Hold On' is a dramatic ride lit up with sweeping, spine-tingling synths. It has a grand architecture and widescreen atmosphere with profound melodies and moody bass rolling down below. Angelic vocal sounds shimmer amongst the epic chords and the whole sophisticated track makes an inescapably emotional impact. The Artche Mix works the drums into airy, dusty broken beats that bring a different vibe while the original vocals and lush synths remain in place and tugging at the heartstrings.

Von seiner Arbeit in der explosiven frühen Hollywood-Punk-Musikszene mit seiner Band The Plugz über das Produzieren von Bands wie The Gun Club bis hin zur Filmmusik, seiner beachtlichen Schauspielkarriere und der Gründung von Fatima Records - Tito Larriva verdient den Titel, den ihm die LA Times einst verliehen hat, durch und durch: "Renaissance Man".

The Plugz, 1978 in Los Angeles von Tito Larriva gegründet, waren inspirierend für die frühe Latino/Latinx-Punk-Gemeinschaft und ihr "West Coast Punk" hatte einen anhaltenden Einfluss auf ganze Generationen von Rockbands.
Kenner der Latino-Kultur würdigten die Band für ihre unkonventionelle Version von "La Bamba" und ihren Einfluss auf die Chicano/Xicanx-Rocker in Südkalifornien.

Mit "Hombre Secreto", einer spanischen Version des 60er-Jahre-Klassikers "Secret Agent Man", brachte Larriva seine einzigartige Handschrift in die Filmmusik des Kult-Klassikers "Repo Man" ein. Seine Karriere ging von hier aus kontinuierlich und vielfältig weiter; zu den wichtigsten Etappen zählen seine Arbeit als Produzent des Cast-Albums der "Pee-Wee Herman Show" und des Debüts "Fire of Love" von The Gun Club, sein Einsatz als Schauspieler in David Byrnes "True Stories" und die von ihm 1984 gegründeten The Cruzados. 1992 entwickelte sich aus The Cruzados die Band Tito & Tarantula, mit der Larrivas intensive Arbeitsbeziehung zu Robert Rodriguez und Quentin Tarantino begann. Er spielte in einem halben Dutzend ihrer Filme mit, unter anderem auch in "From Dusk Till Dawn", wo sein Song "After Dark" und sein musikalischer Auftritt im legendären "Titty Twister Club" eine legendäre Rolle spielt.

Nun veröffentlichen Tito & Tarantula ihr mit Spannung erwartetes Album "!Brincamos!". Das neue Werk ist eine Soundreise, die die Tiefen der menschlichen Seele erforscht, durchsetzt von der rohen Kraft des Rock und dem reichen Erbe des Latino/Latinx-Punkrock. Jeder Track ist ein Beweis für die Fähigkeit Larrivas, Grenzen, Genres und Sprache zu überwinden und einen Sound zu kreieren, der bei Fans auf der ganzen Welt Anklang findet. Mit rohen Balladen und emotionalen Rock-Hymnen ist Larriva mit "!Brincamos!" ein musikalisches Meisterwerk gelungen, das die Geschichte von Tito & Tarantula mehr als würdig fortschreibt.

Neben der Veröffentlichung dieses Albums bereiten sich Tito & Tarantula derzeit auf ihre "!Brincamos!"-Europatournee vor, um ihre berüchtigten Live-Performances auf die Bühnen des europäischen Kontinents zu bringen. Die Fans werden eine Verschmelzung von Rock'n'Roll und cineastischen Welten erleben und Teil unvergesslicher Konzerte sein. Mit Titos intensivem Gesang und der unvergleichlichen Bühnenpräsenz der Band schickt diese Tournee sich an, eines der großen Highlights des Jahres für Musik-Enthusiasten zu werden.

Mit der Veröffentlichung von "!Brincamos!" und dem Beginn ihrer Europatournee im März 2025 laden Tito & Tarantula alte und neue Fans ein, sie auf dieser aufregenden Reise zu begleiten. Die Musik dieser Band ist ein Zeugnis für die Energie des Rock und den vereinenden, kulturellen Stolz der Latinos.

"!Brincamos!" erscheint am 14.03.2025 als Vinyl (aufgrund der Spiellänge des Albums fallen 2 Live Tracks weg), limitierte Vinyl mit einer separaten 10" incl. der Livetracks, CD und digital auf allen gängigen Streaming Plattformen

AM Higgins, the project of American singer-songwriter Annie Meredith Higgins, based in France, blends mystical poetry with influences from Kate Bush, Low, and Fiona Apple. Her new album, The Dream Trap, explores dreamy and deep atmospheres, fusing folk, electronics, and sonic experimentation. Recorded in a barn and a mill converted into a studio, the album captures contrasting dynamics, with arrangements combining organs, drums, synthesizers, and silences. Annie's warm, intimate, yet cosmic voice is at the heart of the project, supported by both organic and electronic instruments. For this album, she reunites with collaborator Casey Foubert (regular contributor to Sufjan Stevens, among others) for production and mixing, with contributions from sound creator Tana Barbier. The Dream Trap, set for release in February 2025 on the We Are Unique! label, promises to be a significant step forward in their musical evolution, both introspective and expansive.

"The journey from Belfast to Los Angeles, entwined with a lifetime spent at the coalface of bona fide rock n roll, has made for a heady cocktail of creativity and popularity. Ricky Warwick, founder of The Almighty, Black Star Riders, The Fighting Hearts, acclaimed and respectful frontman of Thin Lizzy since 2011, remains unstoppable.
This time he’s on a solo run with the release of his new album Blood Ties. "

Wavering through feverish nets of mild notes with no real sun. A disorganised yet precisely paced collection of sounds summoning the gloomy B-side of summers calling. A moment to sit in the frantic underworld of embraced chaos. Clemency. A figure head for embracing off-kilter interpretations of night time music. A real life ‘Angel of the North’.

AIRD is pleased to welcome Clemency to the series.

Original 2019 note: Little is known about the ensemble that is Sun Atlas. It's not certain whether you'd find them in Los Angeles, New York, Addis Ababa, Marrakesh or northern Germany. Maybe non, maybe all of the above. Their only proof of existance is banned on this 45. Their razor-sharp mixture of afrobeat, ethiojazz, surf, cinematic soul, crime jazz & funk/hiphop breaks speaks for itself. Only on vinyl.

Discos Martos Launches with Glen Anthony Henry's Soulful 45 Vinyl Single.

Discos Martos, a new division of Rocafort Records, proudly announces its debut release: a 45-vinyl single by soul singer Glen Anthony Henry. Originally from Los Angeles and based in Spain, Henry combines classic soul with modern flair in this exciting project.

The A-side, "Thankful," is an upbeat tribute to love and friendship, featuring a catchy hook and a drum backbeat reminiscent of Al Green. On the B-side, "Fade Away," Glen Anthony Henry showcases his falsetto in a deeper, more introspective track.

Both songs are produced by Oscar Martos, entirely in analog, capturing the essence of 70s soul music with a contemporary twist.

This release marks an exciting beginning for Discos Martos, celebrating soulful sounds for a new generation.

Die aus Koblenz stammenden CURSE OF KHATRU sind weder Kumpel-Death-Metal noch vermummter Okkultismus oder was auch immer für eine "metallische" Modeerscheinung... Sie stehen für authentische Musik in der Tradition von Bands wie Death, Morbid Angel, Pungent Stench und Grave. "Unser Debütalbum klingt nach der Art von Death Metal, die wir mögen: entfesselt, aggressiv und songorientiert." 11 mega-eingängige Songs + Intro, technisch auf höchstem Niveau, werden den Hörer akustisch umhauen. Versprochen. Das selbstbetitelte Album wurde zwischen Oktober 2023 und Februar 2024 von Jörg Uken in den Soundlodge Studios Rhauderfehn (Keitzer, Maat etc.) aufgenommen. Das Cover-Artwork stammt von Noah Zark.

Ltd Classic Black Vinyl with bonus 7inch, DL card. Monde UFO, LA-based duo of Ray Monde and Kris Chau, are a monochromatic sunset for the senses. A sonic journey through psychedelia, space rock and jazz. A cosmic space where Spacemen 3 meets Vanishing Twin, by way of Sun Ra. 7171 perfectly embodies the framework of lo and hi-fi sounds which have helped define the band. Included in this expanded package is Four Songs, Monde UFO's radical interpretation of Fugazi's music, housed for the first time on LTD 7" with new artwork. In a downtown Los Angeles warehouse, on 7th Street, Ray Monde began writing songs on an old Yamaha church organ for a project that eventually became Monde UFO. Utilizing the organ as a bass, alongside keyboards and a drum machine, he began making demos on a four-track cassette recorder. Heavily influenced by the musician Sandy Bull, sonically landing in a similar no-man's land of Worldly Jazz and Psych Folk. Monde experimented with the themes mostly of meditation and UFO lore. In time Ray moved in with the artist Kris Chau. With little crossover in musical tastes, they exclusively started listening to jazz, ambient and new age music in the house. Increased interest in sound baths and experimental music led to seeing music in a different light. Envisioning something that would sound like Don Cherry making a record with Yo La Tengo. '7171' is an amalgam of influences, interpretations and otherworldly sounds channeled through genre bending experimentation. This expanded edition of '7171' includes the sought after 'Four Songs' EP, a reimagining Fugazi's early classics, songs that take on a life of their own, lost amongst the haze and sugar sweet psych. Ray Monde explains, "Long Division was one of my favorite tracks off 'Steady Diet of Nothing' the first Fugazi record I ever owned; more than ever, it also feels truly poignant in the times we live in.Version 2 is our interpretation of Version from 'Red Medicine', my favorite Fugazi Record." "A slice of low-key bedroom pop-psychedelia in the vein of Syd Barrett." Aquarium Drunkard "Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers." New Commute

Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann (SML, Anna Butterss, Duffy x Uhlmann, Perfume Genius), Josh Johnson (SML, Jeff Parker ETA IVtet & New Breed, Meshell Ndegeocello, Anna Butterss, Leon Bridges), and Sam Wilkes (Sam Gendel, Louis Cole, Chaka Khan). The three improviser/arranger/producers' impressive individual credits encompass such a wide stylistic pendulum swing that a collection of group music from the trio could mine any number of musical territories with masterful results. I n these 11 instrumental songs, the trio explores a spacious lyrical curiosity that could b e described as a jazz-informed take o n progressive electro-acoustic chamber music.

Conceived during two live shows at ETA and a session at Uhlmann's house in Los Angeles, the album maintains a focus on beauty, melody, and rhythm as the pieces unfold, with the trio pushing their instruments and highly-dialed effects to sculpt otherworldly sounds with the collective sensibility o f a rhythm section. The ethos of these instant compositions is arrangement-minded improvisation that showcases the mournful beauty of Uhlmann's fingerpicked electric guitar, the hybrid rhythm-lead of Wilkes' bass chording, and the textural harmonic worldbuilding of Johnson's effect-laden alto saxophone.

This re-issue of the Cocteau Twins' 1993 album has been remastered by Robin Guthrie and is pressed onto high quality 140g vinyl . Cocteau Twins vocalist Elizabeth Fraser, guitarist Robin Guthrie, and bassist Simon Raymonde formed in Grangemouth, Scotland in the late 70s. The brainchild of Guthrie and original bassist Will Heggie, by 1981 they had added Fraser and the following year signed to 4AD, one of the most illustrious of the indie labels. With Raymonde replacing Heggie in 1983, the trio went on to create some of the most unique and otherworldly music of the 80s, built around Guthrie's chiming guitar and Fraser's unmistakable soprano. By the early 90s, the group had just released their most successful album, the commercial Heaven or Las Vegas, but the relationship with 4AD was coming to an end. Mercury imprint Fontana was going through something of a purple patch, signing former underground bands, and by 1992, Cocteau Twins had joined The Fall and the House Of Love. The group's debut album for Fontana, Four-Calendar Cafe, was released in October 1993. Its gossamer melodies and largely upbeat pop bely the turmoil the group were going through. Barney Hoskyns, writing in Mojo, said that Four-Calendar Caf was "the most poignant, heartrending Cocteaus record of all, an album of naked confession and raw beauty . . . Sadness never sounded so luscious." Simon Raymonde agreed: "I think in time people will realise what a great album Four-Calendar Caf is. Because I think it's beautiful." Led by the single Evangeline, the reached No 13 in the UK album chart and is much-loved by fans.

Low Order returns with his sixth EP in five years, building on his reputation for relentless industrial body musick. Opening with immersive noise textures, the record takes shape with the stern syncopated bass drum pressure of “See The Land”, echoing Portion Reform’s classic The Supreme Negative. Disciplined cuts such as “Angel Cycle”, “Stand Still” or the remorseless title track further demonstrate the unstoppable forward momentum with which he’s been tearing up clubs across Europe. The final “Eyes On You” cloaks the listener with dream-pale atmospheres of drones, feedback and mutated vocals that almost feels like the embodiment of a gritty realization, of a burdened history that inescapably lingers within. It rounds off an EP that is clearly rooted in the rich history of extreme styles but never takes its eyes off the dancefloor. Recommended for everyone who’s into all the hard, uncompromising stuff!

A valentine for black hearts! An electric array of magic sounds! The shock return of a missing legend! The surprise formation of HOUSE Of ALL by five former members of The Fall was bound to provide some pleasant surprises, not the least of which being the creation of an identity distinct from that of any specific Fall line-up, and here the band offer an steep evolution of sound of their two previous albums . . . darker, more elliptic and can we say it? A more mystical sum of talents than most groups ever manage. They've kept their open door policy to former members of The Fall and expanded it. Phil Lewis, who's stepped in live for Pete Greenway, makes his studio debut, and the long-lost Karl Burns has emerged from his mystery lair to add a third set of drums to the line-up . . . besting The Glitter Band by 50%! How this will work live has yet to be determined, but the band has already scheduled dates in Spring, 2025. House Of All Souls is somewhat more psychedelic than its predecessors, and despite seven players, each with his own particular style, the songs and production are shockingly cohesive. From the breakneck pace of first tune, Tempest And Storm to the superb album closer, Born At Dawn And Dead At Sunset, there's quite a lot to unpack - it's an album-lover's album, each track magnificent in its own way and impossible for us to pick a fave from the lot of 'em. Plenty has been written about The Fall, whose 50th birthday is just a few years off, but rare is the group with an equally perverse and persuasive influence in that period. When HOUSE Of ALL debuted, Martin Bramah remarked on it being "part of the Fall family continuum" - a matter of actual fact, given the pedigree of its members. With this, HOUSE Of ALL's third full-length album, it's proven fact that the bright lights of those multiple talents behind the band have yet to dim.

Samuel Locke Ward and Jad Fair are two of the most prolific musicians working today. Fair is a founding member of the band Half Japanese, and has released over 200 albums, including albums with Yo La Tengo, Daniel Johnston, Moe Tucker, Kramer, Teenage Fanclub, The Pastels, R. Stevie Moore, DQE, Tenniscoats, The Tinklers, Naomi Ishimaru, Jason Willett, Mosquito, and Strobe Talbot. Samuel Locke Ward has released over sixty solo albums as well as a myriad of collaborations with Bob Bucko Jr, Miracles Of God, SLW cc Watt (with Mike Watt) and the cult new age noise group Boundless Relaxation (with Joe Jack Talcum and The Bassturd). He is a cartoonist for Little Village magazine and like Jad Fair, his style musically and visually is wholly his own Pure Candy is the pair’s third album together following 2023’s Happy Hearts and Destroy All Monsters, both issued by Kill Rock Stars. Pure Candy is an album of love songs and is the feel good album of the Summer, Winter, Spring and Fall. The music was composed and performed by Ward who’s love of pop music and avant stylings offer seventeen unexpected turns over the course of a three minute song. The vocals and lyrics are by Fair, lyrics overflowing with words of love, joy, happiness, tenderness, hope and inspiration. Uplifting words for a time dearly in need of some upliftings. As with the previous two albums by Fair and Ward, this album was mixed and mastered by Jonathan Hansen and is being co-released on LP by Shrimper Records (who last worked with Fair on his collaborative three cassette box set Wonderful World) and Chicago’s Stationary (Hearts) Recordings.

Mirai is a 2018 Japanese animated adventure fantasy comedy film written and directed by Mamoru Hosoda and produced by Studio Chizu (known for Belle, Wolf Children and The Boy and the Beast). The film stars the voices of Moka Kamishiraishi, Haru Kuroki and Gen Hoshino a.o. It was met with critical acclaim and became nominated for an Academy Award in 2019 for Best Animated Feature Film. Additionally, the movie received an Annie Award in the same year. Mirai follows the story of a four-year-old boy named Kun whose world is turned upside down when he meets his new baby sister. After venturing into a magical garden, Kun encounters strange guests from the past and future, including his sister Mirai, as a teenager. Together, Kun and teenage Mirai go on a journey through time and space, uncovering their family's incredible story. The soundtrack for the film was written by Masakatsu Takagi, who had previously scored Hosoda's Wolf Children and The Boy and the Beast. His work for Studio Chizu has been praised for its magical and whimsical atmosphere. For Mirai specifically, this dreamy aesthetic was mixed with a contemporary sound and made to be simple in tone and be reflective of family. Mirai is available as a limited edition of 500 numbered copies on turquoise coloured vinyl and includes a 4-page booklet.

Buffalo’s own Elcamino teams up with Los Angeles producer Real Bad Man for "The Game Is The Game", a gritty and cinematic body of work that showcases their chemistry, with thw two delivering a classic sound for fans of underground hip-hop.

As the first Real Bad Man project for 2024, "The Game Is The Game" captures Elcamino’s vivid street narratives of ambition, survival, and resilience, underscored by Real Bad Man's signature production style—a fusion of soulful samples, eerie loops, and hard-hitting drums that create a cinematic atmosphere.

This collaboration marks a new chapter for both artists, bridging Buffalo’s raw energy with LA’s experimental edge. Hip-hop fans can expect an album that is unapologetically authentic, gritty, and innovative.

To elevate the experience, the album features guest appearances from rap luminaries Benny The Butcher, Boldy James, Rick Hyde, King Ralph and Player K.

After many years, Deformer has proven to still amaze and reinvent themselves. Fans always await the next record, because you never know what to expect, other than that it's most likely ear-shattering. This time again Deformer exceeded the expectations! The new crushing four track record entitled 'Instruments of torture', shows that Deformer still takes the lead when it comes to originality. Deformer has collaborated with some musical giants before and this time teamed up with Death Metal icon David Vincent (Vltimas, I Am Morbid), who previously shook up the music industry with Death Metal legends Morbid Angel. Featured on two tracks, David's signature grunt goes hand in hand with Deformer's musical carnage. This is not just groundbreaking, it's legendary!

Deformer producer, Mike Redman, is considered a musical maniac, known to be an artistic freethinker and has never watered down the Deformer concept. Where its foundation is still Hardcore Jungle, Deformer has always added various music genres into the mix making Deformer a genre of its own, even before terms like 'Breakcore' existed. Many of the more popular names in the field acknowledge that Deformer has always been a great source of inspiration. Where David Vincent made a blueprint in Death Metal, Deformer definitely did that for Hardcore Jungle/Breakcore.

Adrian Younge Presents Something About April is quintessential sweet-soul from The Delfonics lead vocalist William Hart produced by Adrian Younge. From the very beginning, it was Younge’s intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA

DeepMatter Records is thrilled to reintroduce ‘Daughter of the Sun’, the groundbreaking album from Canadian bassist and producer vbnd. Originally released in July 2018, this neo-soul masterpiece has captivated listeners worldwide, racking up over 68 million streams and selling out two previous limited vinyl pressings in the process.

Blending jazz influences with soulful grooves, this album is a true gem for any lover of neo-soul. Featuring collaborations with fellow Saskatoon artists — including the ethereal vocals of Katie Tupper, the masterful guitar work of Justice Der, the sultry sax of Connor Newton, and the artistry of Simon Jasieniuk — the project is a lush and unforgettable listening experience. Standout tracks like “Smoke” and the titular “Daughter of the Sun” highlight Tupper’s smoky, enchanting voice, perfectly paired with vbnd’s lush, soul-infused production.

Since its release, ‘Daughter of the Sun’ has become a cornerstone of Saskatoon’s blossoming jazz and soul scene, with vbnd drawing inspiration from icons like D’Angelo, Jaco Pastorius, and Snarky Puppy.

Los Angeles based producer Truncate and Chicago legend DJ Hyperactive team up for their first ever collaborative EP consisting of 4 deep, heady, funky club tracks.

Billboard Heart, das neue Album von Deep Sea Diver, stellt die Band aus Seattle auf Anhieb in eine Reihe mit St. Vincent, TV On The Radio und Flock of Dimes, Bands, die neue, kunstvolle und magnetische Wege gefunden haben, Indie-Rock zu machen, indem sie Vorstellungen davon, wie er klingen oder was er sagen muss, über Bord geworfen haben. Es ist ihr viertes Album und das erste für Sub Pop, und es ist ein Coup, ein Triumph über Selbstzweifel, der das Scheitern in eine Chance verwandelt, neue Freiheit, Glauben und Stärke zu finden. Mitte Juli 2023 nahm Deep Sea Diver-Mastermind Jessica Dobson in einem Studio in Los Angeles ein Gitarrensolo auf, spürte aber irgendwie nichts. Nur wenige Tage zuvor hatte ihre Band aus Seattle eine Reihe von halb-geheimen Auftritten vor Anhängern gespielt, die de facto als Proben für ein neues Album dienten. Die Sets waren gut gelaufen, aber die neuen Songs schienen verworren, Dobsons Überzeugung ging irgendwo in den 1.000 Meilen zwischen Südkalifornien und dem Heimstudio verloren, das sie mit ihrem Partner, Schlagzeuger und häufigen Co-Autor Peter Mansen teilt. An jenem ersten Abend in Los Angeles hatte sie einen Zusammenbruch, fragte sich, was sie dort tat, und überlegte, wie sie es in Ordnung bringen könnte. Deep Sea Diver zogen sich ohne Album nach Hause zurück. Mussten sie es verschrotten, um mit neuem Material neu anzufangen? Ganz und gar nicht: Nach einer kurzen Pause fand Dobson ein neues Selbstverständnis, ein Vertrauen in ihre Vision für ihre Band und ihre Songs und in ihre Fähigkeit, diese einzufangen. Bei einem Abendessen mit ihrem langjährigen Mitarbeiter Andy Park gestand sie in aller Bescheidenheit, dass sie Hilfe brauchte, was Dobson dazu inspirierte, Deep Sea Diver neu zu erfinden und zu beleben. Diese Enthüllung bereitete die Bühne für die Kraft und Brillanz von Billboard Heart. Drei Jahre zuvor veröffentlichten Deep Sea Diver ihr drittes Album, 2020's Impossible Weight, über das kolossale Indie-Imprint ATO. Es war ein bedeutender Schritt nach oben und brachte der Band eine Welle der Aufmerksamkeit und einen Platz in den Billboard-Charts ein. Doch der Erfolg veranlasste Dobson, an ihren Impulsen zu zweifeln und sich zu fragen, ob die Wirkung oder die Rezeption einer Idee ebenso stark sein könnte wie die Idee selbst. Zu Hause, mit ihr am Klavier und Mansen an der Gitarre in ihrem Wohnzimmer in Seattle, bahnte sich das Paar einen Weg nach vorne und belebte ihre Songwriting-Partnerschaft neu. Das Material auf Billboard Heart ist von Anfang bis Ende erstaunlich. Das Titelstück ist der einzige Song, den Deep Sea Diver tatsächlich in Los Angeles fertiggestellt haben. Die wogenden Synthesizer von Elliot Jackson und der tunnelbläserähnliche Pedal Steel von Greg Leisz sind eine Hymne auf den furchtlosen Vormarsch in die Zukunft - ein strahlendes und großartiges Stück. „Emergency“ verbindet den Elan des Hardcore mit der unmittelbaren Anziehungskraft des Electroclash, wobei Dobsons fesselnder Gesang und seine Gitarrenarbeit im Mittelpunkt stehen. Das zarte und verletzliche „Tiny Threads“ ist eine mitreißende Hymne für alle, die versuchen, etwas zusammenzuhalten - das Leben, die Liebe, sich selbst. „If it haunts me, let it haunt me“, singt Dobson sanft über einer Stille, die nur von Bass und Noise eingerahmt wird. Sie lässt ihre Gitarre in eine Rückkopplung kippen und formt sie dann stetig zu etwas Melodischem um. Es ist ein ganzes Leben voller Angst und Sublimierung, kristallisiert in 10 Sekunden. Billboard Heart fühlt sich im Großen und Ganzen so an. Billboard Heart entstand, als Dobson ihren Instinkten vertraute, es ist ein persönlicher und künstlerischer Durchbruch und das bisher beste Deep Sea Diver-Album, ein trotziges und brillantes Ausrufezeichen am Ende einer langen Zeit der Wanderschaft.

"Las últimas composiciones de Violeta Parra" as originally released in 1966, with remastered sound from the original tapes artwork. This is the best Chilean album of all time according to Rolling Stone magazine. It contains the latest compositions by Violeta Parra, including her global hit 'Gracias a la vida'. It was recorded for RCA Víctor at the end of 1966, despite the artist had signed a deal with EMI Odeon and released her previous albums on this label. After spending some time in Europe, Violeta Parra was back in Chile and wanted to record her most recent songs, filled with lyrics inspired by personal life's disappointments and social topics. The album contains great songs such as 'Run Run se fue pa'l Norte', 'Maldigo del alto cielo', 'Rin del angelito' and the global hit 'Gracias a la vida'. This is the very last album released while Violeta Parra was still alive as she would kill herself only four months later, in February 1967. In 1974 a new version of the album was released featuring string arrangements by Chilean composer Nino García and new artwork, a full-color illustration based on the black and white photo of the original album cover. This became the most popular version of the album available in decades. The ownership of the original master tapes has been the subject of judicial disputes since the late 1990s and until very recent times, which explains the difficulty in having access to the original work, as originally conceived, throughout this period.

Opaque Gold Vinyl. Recorded over four nights at The Music Hall of Williamsburg, this triple LP is a veritable best-of from a band at the height of their performative powers. Featuring scorching renditions of the best-loved songs of the Phosphorescent catalog, from Los Angeles to Song for Zula, Phosphorescent delivers a live album for all-time. Comes with album download.

The Music Of Anthony Braxton (Live In Los Angeles) by Steve Lehman & Mark Turner, released 28 February 2025.

With four full length albums and an ep under their belt, CHEMICIDE have become one of the biggest neck breaking thrash metal acts in Latin America selling over 10K+ albums worldwide and have continued to tour around the globe in DIY mode that has helped them grow steadily in the metal community. The band has been on multiple extensive tours around South, Central, North America & Europe, playing with great bands like Toxic Holocaust, Cattle Decapitation, Municipal Waste, Angelus Apatrida, Helloween, Destruction etc… and have been featured in Metal Hammer UK’s top 10 thrash albums of 2022 alongside Megadeth, Kreator & Destruction; it helped the band connect with a bigger audience worldwide and led the band to several European and American festivals, like Pitfest (NL) Into the Grave (NL) In Flammen (DE) and MetalDays (SL), Rock al Parque (CO) and México Metal Fest (MX). CHEMICIDE band leader Frankie comments about their new album 'Violence Prevails' : « Violence Prevails is a reflection of our daily life. America is a beautiful continent but filled with corruption; more specifically Central and South America. I wanted to portray how there's no more dialogue; everything is resolved with violence and unfortunately for us, we see a lot of poverty and class disparities among our people. I also wanted to tell a story that could resonate with more individuals across the planet and see that they are not alone when they see what's happening around them. Violence now is the key to sort out any discrepancies you may have with someone else and we see it on a daily basis with international conflicts around the globe. Production wise We wanted a late 80's-early 90's approach to the sound of this album. Big drums, heavy bass and sharp guitar riffs, all of this mixed with a lot of reverb and a very raw, 'butchery' approach to the sound. Martín Furia (of Bark and Destruction fame who mixed and mastered the album) understood this perfectly and he helped us shape the sound of this album. He took Black Sabbath's "Dehumanizer" as an inspiration for the drum sound and we tried to start from scratch on the guitar, bass and vocal sound.» CHEMICIDE have been perfecting their bombastic frenetic riffwork and drumming savagery during the course of their past four albums, now resulting in their strongest and most punishing new album 'Violence Prevails' .

Whipped up in the dust of Rene & Rene's Tejano tornado "Angelito," the Dynamic label was just one among San Antonio record and real estate mogul Abe Epstein's enterprises. Dynamic's flagship outfit, the Commands, marched "No Time For You" up to the middle of the charts in 1966 with performance chops honed jet-sharp by the demanding Air Force Base circuit. That takeoff paved a runway for 20 more soulful Dynamic singles over an impressive 30-month campaign. Epstein's open-door policy brought a diverse cross-section of Texas talent into convergence within his General McMullan Drive studio, as whites, blacks, and Latinos alike suited up for service in whichever new group the call of duty called for. Epstein's Alamo City melting pot is ladled out here in 21 (28 on the 2LP) of Dynamic's most intriguing dishes by the Tonettes, Little Jr. Jesse & the Tear Drops, Don & the Doves, Willie Cooper & the Webs, Bobby Blackmon & His Soul Express, and Doc & Sal. Lone Star pic sleeves, full-color dancehall photography, and rich ephemera plant a new flag for soul in soil that's seen its share of hoisted banners.

“Eerie, wailing sounds over distorted feedback drones… Vibrato-heavy harmonies chirrup and throb in agonisingly slow motion.”
The Guardian, Album of the Month

“Cinematic...carefully orchestrated...delicately explores unfamiliar territory with uncanny finesse.”
The Wire

Acclaimed Icelandic theremin musician Hekla returns with Turnar, her third album of devastatingly heavy, spectral soundscape-songwriting, entering a sublime paranormal plane of haunting dread.

Now augmenting her virtuosic solo theremin work with cello, voice, and the sacred church organ of Icelandic master Kristján Hrannar, the evolution of Hekla’s unique magic summons new worlds with Turnar. The album was recorded partly in (and named after) a medieval castle tower in rural France, its ruinous black broken in spare beams of angelic stained-glass light. But, writes Hekla, “the sound of theremin kind of opens up a portal into a new realm that both looks into a dark old world and to the future.” The record is an alternately beautiful and crushing space voyage into a glacial underworld cascading with phosphorescence and cave drip, conjuring ancient choral ritual just as readily as redolent sci-fi gloam.

Opener “Inni” begins with swooning and shimmering lines of theremin that shiver with electrified energy before subfrequency bass elevates them into a glowing plasma, hovering above a crystallised surf. Key moment “Gráminn” wails with ghostly harmonics while distorted drones crash together in a stormy and blackened netherworld sea. It traces a neat progression from Hekla’s last album - the acclaimed Xiuxiuejar - while also welcoming an expanded timbral palette and flourishing compositional confidence. At the end of side A, “Var” delicately places sonic artefacts about a desolate negative space, creating a dense inverse gravity. As with the rest of the record, a claustrophobic gauze hangs over music that could otherwise be called subverted songwriting, aligning Hekla’s sonics with avant-garde, musique concréte and sound-art.

On October 15th & 16th 2020, drummed Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they"d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from the sessions made it onto Villarreal"s critically-acclaimed 2022 album Panamá 77, bust most of the music remained unreleased. Lados B is a deep dive into the high-level spontaneous music made by Villarreal, Parker and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation - flow as informed by the Latin soul of Fania Records as it is by the otherworldly trance of Brain Records - while Parker and Butterss draw on their extensive experience playing free together (as heard on Parker"s recently-released Mondays at the Enfield Tennis Academy, and the LA side of Makaya McCraven"s 2018 LP Universal Beings) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.

Marilyn Manson"s ninth studio album, "The Pale Emperor", is available as a White 2LP housed in a Gatefold Sleeve and a 12" photo art print. This iconic record marked Manson"s return to the forefront of the music scene with its highest opening week sales since "Eat Me, Drink Me" (2007). Topping Billboard"s Hard Rock Albums chart and achieving chart-topping success throughout Europe, "The Pale Emperor" solidified Manson"s status as a rock icon. Featuring hit singles like "Third Day Of A Seven Day Binge" and "Deep Six," the vinyl edition of "The Pale Emperor" offers a tangible glimpse into Manson"s monumental achievement. This is a must-have for collectors and music enthusiasts alike. Experience the electrifying resurgence of Marilyn Manson"s commercial dominance and relive the unparalleled success of "The Pale Emperor".

Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.

After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.

There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.

And he would call it—what else?—Duomo. Duomo Sounds Limited.

This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.

A lost paradise, a lost innocence, and a lost culture; these are the dominant themes presented in Nicolas Roeg's 1971 masterpiece Walkabout, a survival story of two children lost in the scorched Australian wilderness. Together with other seminal Australian surrealistic outback films, (e.g. Wake In Fright) Walkabout was a film that reshaped the Australian film industry and defined the country's New Wave. On the cusp of the film's 45t h anniversary it is pertinent to observe that for decades the film's original soundtrack has also been considered lost. Composed and conducted by the acclaimed British film composer John Barry, the score is a hallucinogenic mix of exotic romanticism, children's nursery rhyme and potent psychedelic experimentation. For decades, the consensus among soundtrack circles was that the master tapes were officially missing with little chance that the music would ever see a legitimate release, but The Roundtable is pleased to announce that this is no longer the case. The complete soundtrack to one of cinema history's most visually spellbinding films has now finally been re-discovered, sourced from the original stereo master tapes and prepared to the guidelines of the original ill-fated 1970s LP release.


The premiere soundtrack release to Nicolas Roeg's 1971 New Wave Masterpiece.
Lost hallucinogenic orchestral score from acclaimed film composer John Barry.
12-track LP re-mastered from the original stereo master tapes.
180g vinyl and deluxe packaging including archival film stills and original press material.
6 Panel digipack CD.

In 2016, Universal Music and The Walt Disney Company France presented ‘Jazz Loves Disney’, followed in 2017 by ‘Jazz Loves Disney 2 – A Kind of Magic’, as part of the We Love Disney series.

Produced by Jay Newland, arranged and directed by Rob Mousey, the project brought together talented and renowned artists to pay tribute to the most beautiful and symbolic tunes of Walt Disney’s magic world and render exclusive jazz versions.

The remarkable cast includes Gregory Porter, Melody Gardot, Stacey Kent, George Benson, Madeleine Peyroux, Laura Mvula, Jacob Collier, Bebel Gilberto, Jamie Callum and Eric Cantona.

Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

The very first (and long overdue) career-spanning retrospective from Soul music legend P.P. Arnold • A 57 song 3CD set, or 25 song 2LP set featuring singles, album tracks, demos, and previously unreleased songs • A stylishly packaged collection with new sleeve notes by author Jude Rogers • A companion piece to P.P. Arnold's critically acclaimed autobiography Soul Survivor The term "well-established" might be appropriate for some artists but it barely begins to cover the career of the phenomenal P.P. Arnold, whose records and performances are now in their seventh decade.

Her consistently excellent music covers multiple genres, her high-profile admirers and collaborators are plentiful, and yet 'Soul Survivor - A Life In Song' is the first collection dedicated to this extraordinary body of work. Compiled by the artist, 'Soul Survivor - A Life In Song' is being released on a 57 song 3CD set, and 25 song 2LP set, both formats housed in an eye-catching sleeve created by photographer (and close friend) Gered Mankowitz, with extensive new sleeve notes by author Jude Rogers.

Alongside key singles and album tracks it includes previously unreleased recordings, demo versions, live performances, and some rare mixes that are being reissued for the very first time. From her early days at Andrew Loog Oldham's Immediate label (where she "became one of us", according to Andrew) her allies, associates, and working partners have included the Small Faces, Cat Stevens, Mick Jagger, Barry Gibb, Eric Clapton, Andrew Lloyd Webber, The Blockheads' Chaz Jankel, Roger Waters, Ocean Colour Scene, The Blow Monkeys' Dr. Robert, and Paul Weller. In 2022 P.P. Arnold told her extraordinary life story in her critically acclaimed autobiography Soul Survivor (Mojo magazine called it "a jaw-dropping memoir"); now that book has the soundtrack that it deserves.

Seit sie 2007 mit ihrem Debütalbum A Guide to Love, Loss & Desperation zu den Vorreitern der späten 00er-Jahre in der Indie-Rock-Szene gehörten,
haben The Wombats aus Liverpool - Matthew „Murph“ Murphy, Bassist Tord Øverland Knudsen und Schlagzeuger Dan Haggis - einen unglaublichen
Aufwärtstrend hingelegt und 2,5 Milliarden Streams angehäuft. Mit ihrem elektrolastigen zweiten Album The Modern Glitch aus dem Jahr 2011
landeten sie regelmäßig in den Top Ten; mit ihrem dritten Album Glitterbug aus dem Jahr 2015 wurden sie Jahre später von der TikTok-Generation
umarmt, wobei „Greek Tragedy“ ein mehrfacher viraler Hit wurde. Mit „Beautiful People Will Ruin Your Life“ von 2018 traten sie in Arenen auf der
ganzen Welt auf, und „Fix Yourself, Not the World“ von 2022 war das erste #1-Album der Band in Großbritannien.
Nun beginnt die neue Ära von The Wombats sechstem Album Oh! The Ocean, einem Projekt, das von sozialen Ängsten, innerer Zerrissenheit,
zwanghaftem Verhalten und den Dilemmata und Schwierigkeiten des Lebens in Los Angeles handelt, wo Murph und seine Familie leben. Hinter der
täuschend kuscheligen Fassade der Band hat Murph schon immer offen über seine Ängste, Depressionen und Süchte geschrieben (er ist jetzt
„stocknüchtern“), aber mit dieser Sammlung gibt es ein Gefühl des Fortschritts in Richtung Konfrontation, Akzeptanz und Bewältigung seiner
Probleme. Neben vertrauten Klängen erkunden sie neue Genres, von glitzerndem Tech-Rock über Sci-Fi-Pop, futuristischen Fuzz-Rock bis hin zu
bluesigem Rock'n'Roll, mit einem Hauch von Disco und Hip-Hop-Einflüssen.

Compton’s Most Wanted’s 1991 album Straight Checkn ‘Em is a classic in West Coast gangsta rap, delivering hard-hitting lyrics and gritty beats that capture the essence of early 90s Los Angeles street life. Led by MC Eiht, the group’s sophomore album, features standout tracks like “Growin’ Up in the Hood” and “They Still Gafflin’,” which offer raw commentary on urban struggles and survival. With its deep basslines, funky grooves, and unflinching storytelling, Straight Checkn ‘Em solidified Compton’s Most Wanted’s place in the gangsta rap movement alongside pioneers like N.W.A. Known for its realism and authenticity, the album is a must-listen for fans of West Coast rap history. Explore Straight Checkn ‘Em for a raw, unapologetic glimpse into the streets of Compton during a pivotal era in hip-hop.

Straight Checkn’ Em is a limited edition of 1000 individually numbered copies on yellow coloured vinyl.