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Matt Watts (1987–2024) was born in Philadelphia, in the USA. He recorded his first songs along the banks of the Missouri River in Montana when he was 15, touring the north-western states extensively as a young troubadour. He arrived in Belgium at the tender age of 19 and grew into a full-fledged singer-songwriter that combines a profound respect for the folk tradition with contemporary influences.

His solo album, Songs from a Window, was released in 2014 by Starman Records and received glowing praise in the press.

Matt Watts played dozens upon dozens of shows in the Benelux, often together with Stef Kamil Carlens and Nicolas Rombouts. While his predecessor Songs from a Window was a true solo album, How Different It Was When You Were There includes personal stories by Watts that have been subtly seasoned with wonderful musicians such as Nathalie Delcroix, Bjorn Eriksson, Geert Hellings (Stanton, Guido Belcanto), Maarten Moesen (Guido Belcanto), and bassist and this album’s producer, Nicolas Rombouts (formerly with Dez Mona, Stef Kamil Carlens, The Colorist, Guido Belcanto, and many others).

One of the highlights of this album, which truly showcases Matt Watts’ awakening, is “Many a Friend Too Kind”: a fabulous duet with Stef Kamil Carlens. Watts also performed in Zita Swoon Group’s production, The Ballad of Erol Klof. Sadly, Matt Watts passed away in June 2024.

MORE QUOTES

“Watts, who washed up in Belgium, sings his personal, poetic lyrics in a high, whispering voice that immediately brings Nick Drake to mind.” 4/5 **** (De Standaard)

‘This is an album full of sincere sentiment and stimulating, evocative stories in fine songs that have been beautifully coloured by Watts and his band, and on which he brings the narrative aspect to the fore more than ever.’ (daMusic)

‘Sensitive songwriter, exceptional storyteller... Introverted, dark, more country, less Nick Drake.’ (OOR)

‘This is real, raw, authentic. Well done, Matt, very well done.’ (Keys And Chords)

‘And no matter how young Matt Watts may be, the singer/musician writes timeless songs reminiscent of those by David Blue and John Martyn...’ (Rootstime)

‘Matt knows how to strike that chord in the same way as Cohen, which immediately moves you. From the beginning to the end of this record.’ (Gigview)

‘A singer-songwriter who believes in simplicity (not a note too many), but grabs you by the scruff of the neck from the start and confronts you with the painful beauty of romance.’ (Luminous Dash)

‘Let's be honest here: Belgium has simply become too small for an album like “How Different It Was When You Were There”. Song material of this calibre deserves a much, much wider audience!’ 4.5***** (ctrl.alt.country)

glo-worm produce chiming pop music of a nonbouncing variety that sounds pure, forlorn and unencumbered. Glo-Worm are at the heart of the `90s East Coast independent pop music scene that brought us Slumberland Records, Velocity Girl, Versus and chickfactor magazine. glimmer KLP054 brings all the various glo-worm 45s together under one roof. It's a real charmer, and now available for the first time as a long playing (LP) phonograph record. glo-worm formed in Washington D.C., summer 1993 and features the voice of Pam Berry ( cofounder of chickfactor magazine) accompanied by Dan Searing (drums, percussion) and Terry Banks (guitar). Previously, Pam had sung in Black Tambourine. Terry played in Tree Fort Angst and a stint in English underground combo St. Christopher. Dan had been in Whorl. During the course of glo-worm's two-and-a-halfish year lifespan, the band released three 7" EPs (issued by the Somersault, Slumberland and K labels) and had songs on a couple of compilations, all leading up to the glimmer [KLP054] album, which compiled the 7" EPs and added a cover of The Cure's `Friday I'm in Love' and was released by K in 1996.

The definitive best of collection from “the only band that matters”, Hits Back was originally released in September 2013 and sequenced to replicate the set played by the band at the Brixton Fair Deal (now the Academy) on 10 July 1982, with the addition of some essential numbers that were not included in the set that night.

Itara is the debut solo album by Paul Pèrrim—guitarist, composer, and anthropologist—featuring a set of guitar-driven compositions that blend hallucinatory acid folk, abstract blues, mutant Eastern jazz, surreal ambient, and free improvi-sation into a vivid and distinctive sonic tapestry.
With a background in ethnomusicology and a degree in Music Education, Pèrrim’s work bridges popular and experi-mental music. He contrasts the acoustic guitar’s austerity with the expansive possibilities of the electric guitar, drawing from late ’60s folk traditions, contemporary fingerstyle, sound collage, drone, psychedelia, and improvisation.
A key figure in the Canary Islands’ experimental scene, he released two albums in the 2010s under The Transistor Arkestra, a Catalan collective merging free jazz and psychedelia. As Transistor Eye, his solo project, he merges ana-log electronics with guitar, using vintage synths and effects.
In 2022, Pèrrim gained wider recognition through his appearance on Manos Ocultas (Philatelia Records) and the in-ternational tribute Solstice: A Tribute to Steffen Basho-Junghans (Obsolete Recordings). That same year, he founded GUITARRACO, a contemporary guitar festival in Tarragona, where he has shared the stage with Joseba Irazoki, Buck Curran, and Raphael Roginski.
Itara will be released in July 2025 via Keroxen. Recorded and produced by Pèrrim, the album features liner notes by critic Bill Meyer, who writes:
“While it’s common to call music cinematic these days, Pèrrim goes split-screen. One might say he composes econo, jamming scenes and sounds to psychedelic effect. But economy does not equate with poverty. Pèrrim draws upon a rich bank of musical notions, all of which he makes his own through the alchemy of recombination and transmutation.”

Asphalt DJ returns to Oddysee with another intoxicating 4- track formula, titled “Double O”. Operating on a solo tip this time around, the Berlin-based producer further expands his sonic palette and offers a versatile collection of steamy club workouts geared towards various stages of dancefloor
functionality. The record seamlessly touches on seductive after-hours bounce, slices of late nite propulsion and flawless rhythmic explorations, while keeping firm footing in the 90 and 00’s sound spectrum. With an eye on the ongoing terror inflicted upon the Palestinian people, we (artist &
label) decided to donate all proceeds from this release to Save The Children - Gaza and West Bank Emergency.

Free Palestine

The New Eves are a Brighton quartet who have been labeled as one of the country's most spellbinding new bands. Nestled somewhere between primal rock'n'roll live performance and transcendent ritual, there's an unmistakable alchemy that happens when Violet Farrer (guitar, violin, vocals), Nina Winder-Lind (cello, guitar, vocals), Kate Mater (bass, vocals) and Ella Oona Russell (drums, flute, vocals) step onto a stage together. Now, they've distilled this visceral energy into their extraordinary debut album The New Eve Is Rising: a lighting rod of inspiration channelled by a quartet with the ability to create something greater than the sum of their parts. The New Eve Is Rising was written in Brighton and at an artistic residency at The Cornish Bank, co-produced by The New Eves and Jack Osbourne (Bingo Fury) and recorded at Rockfield Studios and Bristol's Cotham Parish Church.

Carrying on the long tradition of sentimental jangle pop songwriters, Lightheaded distil decades of lovelorn tunes into sounds for modern softies. They have the sunshine sparkle of The Left Banke and Margo Guryan, the C86 charm of Dolly Mixture and Would-Be-Goods, and the cinematic swell of Belle & Sebastian and Camera Obscura. Formed on the shore of New Jersey in 2017 by Cynthia Rittenbach and Stephen Stec, Lightheaded took time to hone their sound with a rotating crew of drummers, guitarists and backup vocalists. They found a community of like-minded bands in a vast but tight-knit international indie pop scene, which eventually led them to the iconic California label Slumberland Records. Their debut cassette EP Good Good Great!, a collection of five perfect pop songs, landed in 2023, followed by the full-length Combustible Gems in 2024. A European tour and gigs opening for bands like Heavenly, The Softies and The Ladybug Transistor rounded out their breakout year. Thinking, Dreaming, Scheming is their most collaborative and earnest release to date. A side of five brand new songs is combined with the five tracks from Good Good Great!, now available on vinyl for the first time. Recorded bi-coastally with Gary Olson (The Ladybug Transistor) and Alicia Vanden Heuvel (The Aislers Set, Poundsign) and drenched in lush reverb on tape by Fred Thomas (Saturday Looks Good to Me), the new songs are rendered in a dreamy soft focus that perfectly suits their starry-eyed themes. Adding to all the fun are the cameos and contributions from the new generation of New York indie pop goodness, featuring members of Starcleaner Reunion and Trinket, pushing the songs on this record to a high point in the young band's discography. There is something unusual about this band - something truly special.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

Get In Where You Fit In, was originally released in October of 1993 and would be his fourth album in a row to be certified platinum. Production was handled by Ant Banks and The Dangerous Crew, which featured live instrumentation, incorporated P Funk samples, and G Funk synths. The lead single "I'm a Player" sampled Bootsy Collins' funky bass of "Hollywood Squares" and Quincy Jones' son QDIII produced the epic Bay Area G Funk laden classic track "Just Another Day". And it wouldn't be a Too $hort record without some pimp and sex tales like "Blow Job Betty", "All My Bitches Are Gone" and the upbeat "Gotta Get Some Lovin". Bay Area legends Spice 1, Ant Banks, and Mhisani aka Goldy join in on the posse cut "The Dangerous Crew" followed by a track with more Bay Area legends Rappin' Ron and Ant Diddley Dog dissin' ex Dangerous Crew member MC Pooh on the title track. Get On Down has repressed this Too $hort 90's fan favorite album on Purple-In-Clear Colored Vinyl.

Art Academy was a short-lived but impactful project masterminded by Stephan Kessler (of Aircrash Bureau), releasing just one single in 1990 on the iconic Suck Me Plasma imprint, a sub-label of Music Research. "The Banker”, co-produced by Holger Wick (Konzept), delivers a sharp fusion of techno and EBM, capturing the gritty, forward-pushing energy of early '90s German electronic music.

Limited edition of 300 copies on black vinyl and 200 copies on clear red vinyl, offering all original tracks along with the highly sought-after HWSK Mix of “The Banker”, previously only available on CD.

Art Academy was a short-lived but impactful project masterminded by Stephan Kessler (of Aircrash Bureau), releasing just one single in 1990 on the iconic Suck Me Plasma imprint, a sub-label of Music Research. "The Banker”, co-produced by Holger Wick (Konzept), delivers a sharp fusion of techno and EBM, capturing the gritty, forward-pushing energy of early '90s German electronic music.

Limited edition of 300 copies on black vinyl and 200 copies on clear red vinyl, offering all original tracks along with the highly sought-after HWSK Mix of “The Banker”, previously only available on CD.

OVERVIEW: Daniel Johnston’s legacy is legendary. The quintessential DIY artist started his career in Austin, TX whilst hawking cassettes from his day job at McDonald’s. The rest, as they say, is history and fans of US alternative music from the 1980s onwards know about his work and the people he went on to inspire. This, however, is not a biography; it’s a simple piece of communication to let people know that from Friday 4th July the second pressing of Daniel’s radio sessions recorded for the BBC will released on translucent A project inspired by BBC Radio 6 Music’s Marc Riley, the tracks have been licensed from the BBC and approved by Daniel’s family, management and charity. The sessions were spread across an eight-year period with two sessions for Rob Da Bank and three with Marc Riley (both of whom are executive producers of this album). A few bootleg recordings of these sessions have been available across the years but now they have been lovingly mastered and cut by Frank Arkwright at Abbey Road Studios in London. Daniel was a lifelong fan of The Beatles and the overwhelming consensus from those who knew him was that he would be so proud and excited to have his music mastered above the legendary Studio 2 at Abbey Road. This project’s objective is to celebrate Daniel’s musical legacy, rather than explore further his well-documented mental health problems.

OVERVIEW: Daniel Johnston’s legacy is legendary. The quintessential DIY artist started his career in Austin, TX whilst hawking cassettes from his day job at McDonald’s. The rest, as they say, is history and fans of US alternative music from the 1980s onwards know about his work and the people he went on to inspire. This, however, is not a biography; it’s a simple piece of communication to let people know that from Friday 4th July the second pressing of Daniel’s radio sessions recorded for the BBC will released on translucent A project inspired by BBC Radio 6 Music’s Marc Riley, the tracks have been licensed from the BBC and approved by Daniel’s family, management and charity. The sessions were spread across an eight-year period with two sessions for Rob Da Bank and three with Marc Riley (both of whom are executive producers of this album). A few bootleg recordings of these sessions have been available across the years but now they have been lovingly mastered and cut by Frank Arkwright at Abbey Road Studios in London. Daniel was a lifelong fan of The Beatles and the overwhelming consensus from those who knew him was that he would be so proud and excited to have his music mastered above the legendary Studio 2 at Abbey Road. This project’s objective is to celebrate Daniel’s musical legacy, rather than explore further his well-documented mental health problems.

2023 Wiederveröffentlichung des griechischen Black-Metal-Klassikers; Ein Album, durch intensiven inneren Suche komponiert und aufgenommen, was zu dem vielleicht gefühlvollsten Album wurde, das ROTTING CHRIST geschrieben haben. Mit Original-Cover und 2 Kreator-Covern als Bonustracks!

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…