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Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr's Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock's Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

Amateur Dramatics is Awkward Corners AKA Chris Menist's second LP in the space of a year. In 2020 – a time when the global pandemic gave artists more time and space to think about their music – Chris took his collaborations and compositions to a different level. Having already collaborated remotely with Sarathy Korwar, as well as Kitty Whitelaw through Karthik from Flamingods' Isolate/Create/Collaborate community, Chris turned his thoughts towards a new project. Amateur Dramatics is influenced by the events of early 2021 and alludes to the general atmosphere of political life in the UK right now where we are chivvied along by people who seem woefully unqualified to be commanding authority. Musically, the LP builds on foundations of the meditative, devotional electronic aspects of previous LP Dislocation Songs but this time frames it more in a jazz context with significant collaborations with Collocutor and Maisha's Tamar Osborn on four tracks.Vocals (from Kitty Whitelaw) feature on an Awkward Corners track for the first time, as well as double bass provided by David Leahy.The result is a thoughtful and deep listening 40 minute listening experience.

A selection of exclusive tracks from a dusty shoebox full of cassettes and DAT tapes, recorded by Facehugger and Deviant between 1995 and 1997.

The Parasite EP showcases their first batch of live analogue jams that mash the boundaries of experimental house, deep electro, acid and the hazy bustling sounds of the city – a soundtrack of travelling to raves, staying up late, coming home and making wild mixtapes until early Monday morning.

Despite the untimely passing of his production partner, Deviant, in 2009, Facehugger has remained a dedicated and unique beatmaker, close personal friend and unsung hero of the scene, not to mention “unofficial” manager of the Plates record shop, known for his outspoken, boisterous and loud opinions about any new releases which came in!

Now, nearly 30 years on, nestled in the quiet suburb of Carlton (Nottingham), Facehugger loads up his drum machines and starts to create, with the promise of a new wave of music on the horizon…

DJ support from: Charlie Bones (NTS), Bradley Zero, Coco Bryce, OK Williams, Glenn Astro

This route is not direct. The time of embarkation is summer 1989, our point of departure, Club Barraca, Valencia, the epicentre of La Ruta Del Bakalao. Passengers on this journey are Martyn Walsh, bass player and songwriter of Manchester band Inspiral Carpets and Sean Johnston, the band's booking agent and aspiring DJ. Our passengers will travel via separate routes, Martyn will sign to Mute Records and become the author of numerous top 40 hits and perform a myriad of worldwide shows. Sean will become a successful underground dance music producer as the Hardway Bros and DJ partner to the late Andrew Weatherall as A Love from Outer Space. Pulled back together by the gravitational waves of Weatherall's untimely demise earlier this year, this is the music of their journey ,¡La Ruta!

Porcupine is Echo & The Bunnymen’s most profound and personal album from their early period. Weathering band turmoil, rejections from their record company and spans of songwriting drought, the group emerged with a passionate and compelling set of songs described by vocalist Ian McCulloch as “coming to terms with the opposites in me.” Following their fourth Peel session in early 1982, the band chose Ian Broudie, leader of The Lightning Seeds and co-producer of Echo’s 1980 album Crocodiles, to produce Porcupine. While the album includes both “The Back of Love” and “The Cutter” (two of their most upbeat and successful singles), most of the material was fairly introverted and autobiographical.

Unfortunately suffering negative reviews upon release (including a misguided hate-piece in the NME), Porcupine has since become a gold standard for both the band and British underground rock from the ’80s. It’s also simultaneously their most retro album and their most forward-looking. The production is full of guitar effects that must have set the mind of Kevin Shields onto the path to My Bloody Valentine’s own masterpiece, Loveless.

In addition to the “The Cutter” and “The Back of Love”, Porcupine includes songs such as “My White Devil,” “Heads Will Roll,” and “Porcupine” that transcend and enlighten to this day. It’s an essential album from one of the most influential bands of the post-punk movement.

The music that would become Conversation Peace began with a trip to KPM’s London HQ in late January of 2020. I had just finished wrapping up post production on my album Ocean Bridges with Archie Shepp and Raw Poetic. I actually received the invitation during the summer of 2019 during studio sessions for Ocean Bridges and scheduling for the top of 2020 made the most sense. So I packed up a few records and a few drum machines then embarked on my first trip to England. We had a quick meeting about expectations, then it was time to see the archive. As a record collector, I’m very familiar with the legacy of the KPM brand. I had been lucky enough to find a few over the past decade during my digging trips up and down the east coast, but looking at the complete vinyl catalogue was a great privilege. I anxiously began combing through records from morning to night looking for the right sounds. The whole experience was surreal.



Listening to the entire catalogue was a history lesson and the amount of great composers and compositions in the recordings was endless. I’d be lying if I said it wasn’t somewhat overwhelming. As a producer looking for textures, inspiration and grooves, the abundance of those things made it extremely difficult to narrow down what I wanted to use. From drums to sound fx to orchestras to small rhythm sections to ambient noises, I heard a wide variety of things and they were all so well produced and recorded. Every instrument you can think of was there! I spent a little over a week capturing sounds knowing that my work was cut out for me when I returned to my home in DC. Once I got home, I got to work. I captured so much, that it took me about a month just to organize all those ideas. Little did I know the world would drastically change in the next month following my return. My flight to and from London would indefinitely be my last time traveling for a while. I worked diligently with the material and took my time making sure I had strong ideas. The history of KPM and the opportunity to collaborate with the prestigious lineage made the stakes very high for me and I knew I needed to deliver a quality product. It’s an honor to be the first artist to release a KPM Crate Diggers title. - Earl Davis (Damu the Fudgemunk)

Priya Ragu’s story is just as fascinating as her music. She was born and raised in Switzerland following her parents' escape from the Sri Lankan civil war in the early eighties. As she grew older, the Swiss and Sri Lankan cultures began to clash. Although they are now fully supportive of their daughter, Priya’s parents were initially strict, she wasn’t encouraged to listen to Western music or hang out at the mall after school. However, her musical ambitions soon began to take root.

At the age of 16, she performed Alicia Keys’ ‘Fallin’’ to her brother, who insisted she perform at a show he was doing with his rap group. Her father discovered their plans and stopped her from performing, but Priya wasn’t deterred. She instead made her ambitions more covert, sneaking out to jam sessions and open mic nights, before decided to fully pursue her ambitions by moving to America with the help of her friend, the rapper Oddisee. Working remotely with Japhna, the pair created several tracks which would provide the launchpad for where she is today.
‘damnshestamil’ Priya Ragu’s debut mixtape is a result of her highly productive creative partnership with her producer and brother Japhna Gold, featuring all Priya’s singles to date, including the international sensation ‘Chicken Lemon Rice’, ‘Good Love 2.0’, ‘Forgot About’ as well as her most recent single ‘Kamali’ which launched with a BBC Radio 1 ‘first play’ – with Annie Mac, and most recently A-Listed with the BBC Asian Network – showing no signs of slowing down.
Priya has coined the term ‘Raguwavy’ for her vibrant sound which defies standard genre definitions. It signposts the next era of forward-thinking R&B and electro-pop by tapping into the sonic accents of her Sri Lankan roots.
The current single ‘Kamali’ was inspired by a short BAFTA nominated film of the same name. It explores the story of Suganthi a single mother living in a small village in India, who was raised in a culture in which gender roles are clearly structured and as a result she stayed at home until she was old enough to marry. Suffering through abuse– she escaped to create a better future for herself and her daughter – Kamali. Musically and visually Priya connected to the story of Kamali and brought her world to life through song, placing emphasis on the important of motherhood and the circle of life.
As the road to the mixtape approaches - Priya fulfilled a lifetime ambition when she played a sold-out show as part of the Montreux Jazz Festival in Switzerland. Later Latitude Festival in July, and scheduled to perform at All Points East in August, where she begins to peel back the layers of her first body of work, to a live audience.
She will end the year on a high by embarking upon her long awaited debut UK & European headline tour. Consisting of nine shows spanning six countries, the tour includes a London show at the Jazz Café which is now sold out and will culminate with a homecoming show in Zurich a week later.

In the Company of Serpents traffic in sonic catharsis. Their music inhabits the strange fringes between sludge metal and sprawling spaghetti western scores, constantly striving for visceral power and raw intensity, contrasted with eerie, spare instrumental passages. Founded in Denver, Colorado in 2011 the band quickly managed to establish a name for themselves. Several releases followed in the years to come and In the Company of Serpents managed to impress the masses on stage as well. Late 2019/early 2020 the band started to work on their album ‘Lux’. It turned out to be one of the most impressive Doom/Sludge Metal albums ever recorded. The band self-released the album in limited edition during 2020 but soon afterwards Petrichor noticed their supreme musical qualities and decided to offer the band a chance to release the album worldwide. A deal was made, hands were shaken and you now all have to face the impending doom before you. The music of In the Company of Serpents is so intense it mimics the gravitational pull of a black hole.

The Paradigm-Shifting Fourth Studio Opus From The Norwegian Pioneers.
Presented On 2cd Deluxe Digipack Format & Including A Retrospective Look
At The Album Courtesy Of Writer Jeff Wagner.
‘Themes from William Blake’s The Marriage of Heaven and Hell’ is the fourth
studio album by Norwegian experimentalists Ulver.
Having been known for their more folklore-tinged black metal compositions on
early studio releases, in late 1997, mainman Kristoffer Rygg invited keyboardist, sound conceptualist, and composer Tore Ylwizaker into the collective, and
together they devised a plan for The Blake Album; an altogether far more adventurous endeavour than prior releases.
What resulted was a seamless integration of electronic & industrial music, with
elements of progressive metal & avantgarde rock, all fused with ambient passages, & following Blake’s plates as track indexes. A work of deep and personal
art, the album, while initially surprising to fans due to its complete shift in genre, has become a classic today, and a prime example of the boundary-pushing
evolution beyond the confines of genre expectations through the latter part of
the 90’s. Upon release, ‘The Marriage of Heaven & Hell’ received widespread
acclaim from critics within the rock, metal & alternative music press, being
awarded Album of the Month in several high-profile magazines such as Terrorizer, Metal Hammer, and Rock Hard.
The album notably includes guest vocal appearances from Darkthrone’s Fenriz,
as well as Ihsahn & Samoth; most known for their work in Emperor.
This newly remastered edition of ‘The Marriage of Heaven & Hell’ is presented
on 2CD deluxe digipack format, including full lyrics/text, plus a new article from
writer and journalist Jeff Wagner on the background, nature & triumph of such
an ambitious release.

Quartier Groove Records releases its first EP “Ritmo del Barrio” that features two club weapons from the Spanish electronic music vaults of the 90s, TYU’s remix of Bravo & Dj’s 1989 one-hit wonder “Difacil Rap”, and Richard Fribert’s rework of the early electronic rumba track “Sueño Almohade” by Sombra y Luz. Both tracks have been licensed and agreed with the original labels and writers, and will be limited to 300 copies.

On the a-side, an edgy club revision of a 90s hip-house track that was originally written by a group of DJs compelling us to join them for a wild night out. TYU’s remix, that only makes use of the rad rapapella, makes a perfect match to the daring call and takes us to a 90s rave of today in full style, with its bold drums, slappy snares, trancy synths and road-paving bassline.

The flip comes with Richard Fribert’s powerful and fearless hi-NRG rework of the experimental rumba song “Sueño Almohade” by Sombra y Luz, a track that makes a clear flirt with the history of Spain, a country that was once the Muslim ruled area of “Al-Andalus”. Spanish passion meets Arabic mystique in this hard, slamming, acid ride of an update. The result, a DJ weapon to be reckoned with.

The two tracks comes together to form Ritmo del Barrio EP, “Quartier Groove” in Spanish, the project by label heads Richard Fribert & MOQST that was designed to encourage listeners to search for more unknown and forgotten music in the most unexpected of corners of the world.

The Jesus & Mary Chain picked the perfect time to make this record. Their sonic assaults and industrial pop could’ve only taken them so far. Proving that they were capable of making more intuitive and subtle art, Stoned & Dethroned positions the underlying desperation of the Reids’ music in a different light. Previously known for feedback-drenched pop songs and gothic surf / blues storms, The Jesus & Mary Chain followed a successful year of touring in 1992 (including a slot on the second Lollapalooza tour) by entering the studio to record an acoustic album. The sessions were the first time that principal members Jim and William Reid had embarked on a recording with a full band since their incendiary debut, but the results could not have been different. Though the hooks were still there, Stoned & Dethroned emerged with a calmer, almost folk / country-tinged sound. Any feedback appears as hazy atmospherics rather than pain-inducing squeals. The sound of the album nobly approximates the drugged swagger of the classic early-’70s Rolling Stones records, but with The Jesus & Mary Chain’s uniquely foreboding lyrical perspective.

Un Singe En Hiver (“A Monkey in Winter”) starred the greatest name of the
time in French Cinema, Jean Gabin and a “rising newcomer”,
Jean-Paul Belmondo.
This is popular early 60s mainstream French cinema, with a certain ‘quality’
that would not be to the taste of the nouvelle vague aficionados. In fact this
film is nothing less than the reflection of a certain Gaullist spirit of rebellion,
fiercely individualistic and disabused of all ideologies.
The music of Michel Magne outlines the nostalgic wanders of Albert Quentin
(Jean Gabin) who after an adventurous youth on the Yang-Tse-Kiang now lives
a quiet life with Suzanne (Suzanne Flon) whom he met at the Bourboule and
manages the Stella hotel at Tigreville (actually Villerville in the Normand Calvados) and takes care of Gabriel Fouquet (Jean-Paul Belmondo), a young adman
whose heart was broken in Madrid.
The genius of Magne is found in his evocations of Spain and China not as they
were at the time but as the two main characters picture them with the help
of not just a few drinks. Here is a jolly good record you will want to go back to
every time the right-minded ones try to mess with your basic rights.

Comet Records is excited to present Afro Rhythms Vol. 1 the first repress since 1999 of Singles and Remixes out of Black Voices’s LP from Tony Allen Afrobeat pioneer, along with the iconic Psyco On Da
Bus creating a new sound between experimental, electronica and afrobeat, both albums produced by sound activist Doctor L

The compilation is a proper trawl through the vault of the early years of Comet Records featuring producers and artists as IG Culture, Eska, Catalyst aka Alex Attias, Psycho On Da Bus Featuring Doctor L and Tony Allen, Cinematic Orchestra and the legendary Parisian duo Chateau Flight.

The tracks "The Drum" and "Brotherhood" produced respectively by IG Culture (Son Of Scientist) and Cinematic Orchestra are part of The Allenko Brotherhood Ensemble project, a collaboration between the
unique drumming style of Tony Allen and the best in contemporary producers.

Comet label continues its hypnotic elliptical orbit through radical funk realms and dancefloor wormholes, connecting to five decades of music from four continents and still heading for the future, a pure and positive light to guide our way on.

BERRIES new single 'The Expert' is released on 10th August 2021. The single follows on from the success of single 'Copy' released earlier in the year that received praise from Radio X, Amazing Radio, BBC London and 6Music as well as acclaim in key online press sites such as RGM, When The Horn Blows, Little Indie Blogs, Loud Women, New Noise, Get In Her Ears and God Is In The TV. Copy was #64 of Hot New Releases now @ AMZ UK, and added to the Amazon 'Best New Bands' playlist http://amzn.to/BestNewBands The single coincides with a headline London show at Grace on 12th August. Further shows in the calendar are Hull Zebedees Yard on 3rd Sept supporting Frank Turner and other Xtra Mile artists and a slot at Frank Turner's Lost Evenings IV Festival at Roundhouse, London. The Expert will later be released on flex-disc as a double A side single - together with their cover of Sleater-Kinney's 'Dance Song '97' - originally recorded for Kill Rock Stars 30th Anniversary compilation.

With a music career spanning more than 40 years, David Ferguson has engineered landmark albums for Johnny Cash, opened a recording studio with John Prine, and shared a Grammy win with Sturgill Simpson. Now the Nashville native has become a compelling recording artist in his own right with Nashville No More , his debut album on Fat Possum Records. The self - produced project gathers an exceptional cast of friends from the city’s Americana and bluegrass community, while the track listing is simply a reflection of songs he likes. Ferguson has won Grammy Awards for engineering the Del McCoury Band’s The Streets of Baltimore and Sturgill Simpson’s A Sailor’ s Guide to Earth .

This is the exclusive splatter version of Slade’s third studio album Slayed?. Originally released on 1st November 1972, it entered the UK album chart at #1 and remained in it for 34 weeks and was certified Silver in early 1973.
Slade were unstoppable throughout the seventies becoming one of Europe's biggest bands, releasing 6 smash hit albums, including three UK No-1’s, a run of 17 consecutive Top 20 singles and their hits are synonymous with the glam era.

Fresh one on Music With Soul - a channel for hot 7"s that always fly out here. TIP!

"Two and a half frenetic minutes that sound like Aphex Twin and The Incredible Bongo Band dancing Capoeira in the early hours of an illegal rave, somewhere in the deep amazon forest. After the success of his first solo 45, Alex Figueira comes back to the aesthetics of the early Fumaça Preta, with an utterly bonkers 45 that can only be described as an “in-your-face acid macumba techno breakbeat funk freakout”.

The flip side contains a haunting Psychedelic ballad, with the sweet vocals of Maddie Ruthless, from NY’s leading Lovers Reggae sensation, The Far East. Equally trippy and beautiful, the soothing sounds of the Wurlitzer piano and the electric sitar will be bouncing in your head for hours after first listen. The kind of song that finds collectors dropping eye-popping sums, decades after the original release. Guarantee your retirement now by getting a few copies! The song “Maracas” is the main theme of the movie “Maracas, tambourines and other hellish things” directed by fellow record nerds Matteo Fava and Dave Potsma. They managed to convince Figueira to play the main character, and later on, to do the complete music score. The movie tells the story of a struggling underground musician / part time record store clerk, whose music career is basically going nowhere until an improbable encounter gives his life a dramatic turn. They asked Figueira to give them something with “a fresh tropicalized take on Blacksploitation”. One might argue, after listening to the insanity carved on the grooves of this piece of vinyl, that he certainly did deliver.

The characteristic mix of synthesizers and heavy percussion used by Figueira in almost all his projects, gains here a somewhat freer dimension, embracing the chaos openly, without ever neglecting the groove, nor the ancestry axis. Values that are at the core of the label. Even while laying down all the instruments himself, Figueira has managed to capture the same out of control tropical psychedelic spirit of his former band, Fumaça Preta. Fans of the group’s outfit will certainly be rejoiced by this new release.

The flip carries “Grasping & Wishing”, an evocative Psych ballad that retains the same tripped-out flair of the A side, while slowing down the tempo considerably with a decidedly african 6/8 beat. Sung by New Orleans’ own “Rocksteady Queen”, Maddie Ruthless, stepping out of her classic Reggae background, to grace the track with her beautiful voice, permeating the issues of belonging, doubt and introspective reflection portrayed in the lyrics, with a thin layer of exquisite fragility that will comfort your ears.

The production includes a significant number of sound effects, ranging from different types of percussion performed with liquids to bamboo flutes of different sizes and several layers of multiprocessed electric Sitar tracks. Listen carefully and you will discover new sonic nounces every time you put the record on."

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

Martin Scorsese’s Motion Picture "Goodfellas" needs little introduction. It is widely regarded as one of the greatest films ever made, and the ultimate mob movie. The soundtrack features artists Tony Bennett, Aretha Franklin, The Shangri-las and many more. It is a very rare find on vinyl, having only being pressed in a couple of small runs in the early 1990s. This 1LP release will be the first global pressing and will be available on blue vinyl.

‘IIUII’ is essentially a re-imagining, a reminiscence
and a unique take on the Best Of format, with the
band re-recording key Fink tracks from 2006-2016
- “that whole arc, from my bedroom to having a
proper hit, playing the big festival stages with big
production, and all the rest,” according to Fin
Greenall aka Fink.
In 2019, after heavy band touring for three years,
Fin did a solo acoustic tour which took him full
circle back to the simplicity of those early days.
Making an album that reflected this seemed like a
beautiful way to tie the whole story together.
Fink has previously collaborated with artists such
as Bonobo, Amy Winehouse, John Legend,
Professor Green and more.
For fans of Bon Iver, The National, Nick Mulvey,
Jose Gonzalez, Iron & Wine.
CD in a gatefold sleeve. Comes protected by
recyclable bio-based shrinkwrap.
Gatefold 140gram black double vinyl in a printed
inner sleeve. Comes protected by recyclable biobased shrinkwrap.