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Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Sam Interface (formerly known as SNØW) returns to the seminal R&S Records following the success of last year’s R&S Presents: More Time Records Vol 1, which was a 4 track compilation featuring Ahadadream, Bala Bala Boyz, Bryte & SNØW.

He is the co-founder of London’s More Time Records, on which he has released much of his own music as SNØW (including collaborations with Zed Bias, Fox, Dread MC & more) and can also be found monthly on Rinse FM and Reprezent Radio playing a range of percussive genres including UK Funky, GQOM, Kuduro, Afrobeats and more.

The name change takes him closer to his first alias Interface, under which he had DnB hits with the likes of DJ Die and more, he explains: “When i first released music back in my early DnB days I used the alias “Interface” and so many people still call me Sam Interface - it feels like the most natural name for me.”

The lead track “Underground” (which samples an announcement from the tube) references a range of London-centric genres, combining polyrhythmic percussion with an extremely upfront bass sound which draws influence from and exxagerates recent drill productions.

“Finally”, a collaboration with an old friend & prolific DnB producer Break follows, bringing frantic motion to the release. The third track “Crud” utilises Sam’s signature gully bass production, flooding the speakers with low end on the drop. The EP wraps up with “Pink Dolphins” - a euphoric dancefloor moment which channels the energy and emotion of jungle, drawing on some of Sam’s earliest rave influences.

Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased.

The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.

On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell.

All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"

Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - spanning a time period leading up to the emergence of the fado's all-conquering star, Amália Rodrigues.

Strut Records highlights a landmark in British jazz-rock with Second Wind, the 1972 album from keyboard visionary Brian Auger and his powerhouse group Oblivion Express. Capturing a fully matured lineup, the record finds Auger expanding his fusion language - bridging jazz sophistication, funk-driven rhythm, and soul-infused songwriting with the clarity and fire that defined his early ’70s work.

Though Auger’s roots lie in the lineage of hard-swinging jazz organ and the improvisational fire of the ’60s British scene, he has never been an artist content with tradition. With Second Wind, he moves further into a hybrid language that fuses rhythm with harmonic depth and groove, without sacrificing sophistication. His playing is expansive yet precise, translating the electricity of live performance into a studio work that breathes with immediacy.

At the heart of this era of Oblivion Express is the telepathic rapport among its members. Vocalist Alex Ligertwood (in one of his earliest major recordings before Santana fame) brings a soulful intensity that feels both grounded and forward- looking. Second Wind contains tracks that have become deeply significant in Auger’s discography - original compositions Second Wind, and Truth to name a few - but it was Auger's high octane revisioning of Eddie Harris' Freedom Jazz Dance, (adding new lyrics to the original instrumental) that genuinely broke barriers. The track became a DJ friendly classic and highlighted the groups deeply original approach.

The rhythm section of Barry Dean and Robbie McIntosh balances weight and fluidity, giving Auger the space to stretch across Hammond organ, Rhodes, and keys with characteristic boldness. Their collective sound is one of seamless motion: jazz-inflected lines swelling into rock-driven crescendos, funk-leaning grooves locking with vocal hooks, moments of quiet clarity emerging between bursts of improvisation.

Second Wind stands as a pivotal moment in Auger’s discography: a record that bridges the exploratory spirit of his earlier projects with the more groove-oriented approach that would soon bring international attention. More than five decades later, it remains a vivid document of a band carving out its own language. Music born of instinct, collaboration, and a restless desire to push beyond the expected.

Paris Ford Bass Player Musician In the earliest years of New York’s post-disco era when roller skating rinks were packed to the rafters and dance floors were alive with funk, R&B, and early electro grooves a young artist named Paris Ford laid down a recording that would quietly endure for decades.

Roll a Skate was supposed to be release on Streetwise Records, the influential New York dance label founded by producer and DJ Arthur Baker
home to seminal club classics and cutting-edge dance sounds of the early ’80s.

Only few month ago, Paris Ford, the artist has uncovered the original 2-inch, 24-track master reel of that recording the very masters from which Streetwise pressed its vinyl rediscovered after nearly 40 years.

Listening back, even Arthur Baker reflected that if he’d heard what Ford had captured back then, he would have released it as a second single a testament to the timeless energy and feel of the recording.

Fifteen years after it first surfaced on the short-lived Lithuanian netlabel Dumblys, Sraunus – Out Of The City returns remastered, recontextualized, and ready for a new wave of deep listeners. What once felt like a hidden gem now reads as a quiet cornerstone, a record whose significance only grew clearer with time.
Behind Sraunus is Paulius Markutis, one of Lithuanias earliest deep-dub explorers. His moniker translates to “flowing” or “fluid,” and that spirit runs through the entire album: the music breathes, circulates, and drifts with calm inevitability, revealing fresh details on every pass. Rooted in the classic Berlin-born dub tradition yet unmistakably shaped by Markutis own sense of space, mood, and narrative, the result feels beautifully suspended in time, warm in its chords, patient in its arrangements, and guided by a subtle emotional current. This is dub techno at its most enduring: fluid, deep, and endlessly replayable.
The reissue, part of Greyscales Archive Series, arrives on superbly pressed double vinyl, with artwork chosen with intent: Marija Marcelionytė-Paliukės “High Tide and Low Tide,” an image of perpetual motion that perfectly mirrors the albums flowing spirit.

Neues Splattered Vinyl-Format des wegweisenden Meisterwerks "Tangerine Dream" der legendären Psych-Rock-Band Kaleidoscope. Remastered von Pete Kember aka Sonic Boom (Spacemen 3) von den Original-1/4"-Mastertapes. Splattered Coloured Vinyl im Gatefold inklusive Bonus-7" mit zwei bislang unveröffentlichten Outtakes aus den Sessions von 1967.

If you know your death metal history, you are then well aware that 'Hating Life' stands for one of GRAVE earliest and gnarliest demo days classics, later on rerecorded on their immortal debut 'Into The Grave', later on once again used as the title of their fourth full-length, back in 1996. So when a brand new entity proudly waving an old-school death metal flag and bearing the same name seemingly creeps out of nowhere, you're entitled to except the same kind of HM-2 drenched, tribute-in-disguise and downtuned death metal innit? Well, for the time being, the answer would be yes. And no at the same time. Not so hidden behind the whole thing is Santi, guitar player and founding member of ATARAXY, one of Spain most respected and relentless old-school death metal outfit since 2008. "The whole process was very spontaneous, the result of me jamming with a Gibson Les Paul and a HM-2 pedal and ending up soon with great riffs, melodies and plenty of ideas. With ATARAXY having now a very specific personality, it felt great to rediscover primitive death metal roots." Describing HATING LIFE overall sound as "putrid and raw", he doesn't deny the obvious GRAVE nod, especially since the opening track/intro of their debut recording is simply called 'Into The Grave'. "You can call it a tribute or a declaration of intent. The first GRAVE material was and remains a clear exponent, among many others, of the kind of death metal that truly motivated me to compose the tracks for this."

Roberto y su Nuevo Montuno recorded their first album, “El Nuevo Montuno Llegó” (1970), when Roberto Berríos was just 22 years old. This was also the debut release on Haddock’s own Uniart label. Berríos remembers that they did the recording in two sessions, splitting it up into four tracks per visit. The engineer was the famed Pedro “Pedrito” Henríquez, who recorded El Gran Combo, Roberto Roena and many others. The band had a mix of tasty, powerful originals, from Tony Cintrón’s title track that announced the band had arrived, ‘El Nuevo Montuno Llegó,’ to Quique Dávila’s mournful ‘Triste Arrabal.’ Then there was the hit Santería themed tune, ‘Llamé a Changó,’ which was a song that Quique Dávila brought to the band, but had been originally composed by Carlos Pinto, though Quique was given the credit. Dávila also composed ‘Me Queda Un Guaguancó,’ which is Roberto’s favorite song on the record (as well as a fan favorite), with Papo sounding like his friend Héctor Lavoe, and Quique Dávila’s proud manifesto declaring that Puerto Rico now had its own son montuno, ‘Oye Tu Son, Borinquen,’ featuring the pianist’s tasty but brief solo. The cover versions came from the group’s earliest period when most of their repertoire consisted of renditions of beloved but lesser known tunes, and include Louie Ramírez’s ‘Balancéate’ (a favorite of Roberto’s from Ray Barretto’s songbook), Bobby Valentín’s ‘Monina y Ramón’ (recorded during his stint with Willie Rosario), and a bolero indelibly sung by Cheo Feliciano when he was with the Joe Cuba Sextet, ‘Dichoso,’ written by Joe Cuba’s talented pianist, Nick Jiménez. Some of the arranging was done by Cintrón and some by Dávila, though Quique had some help from his old friend from El Combo Moderno, Freddie Miranda, who at that time was with Roberto Roena’s Apollo Sound. Roberto says that the arrangements of the cover tunes were made specifically to be different and more contemporary sounding than the originals. “El Nuevo Montuno Llegó” has become a legendary salsa dura classic from Puerto Rico and we are thrilled to present this first legitimately licensed and remastered vinyl reissue. It includes detailed liner notes that reveal the untold story of the band and their debut album, and rare photos.

Experimental musician Greg Stasiw presents his debut album of radiant, free-flowing electronics ‘Guesswork’. Music for psychoactive exploration made over a four year period, incorporating ambient, minimalism, intricate sound design & Japanese environmental music. An exceptional listening experience of wonder, tranquility, melancholy & discovery, contemplating the relationship between sound & space.

Greg Stasiw is an experimental musician, visual artist and writer from New England, Northeastern USA. An itinerant polymath, Stasiw has spent time living, working and traveling in New York, Tokyo, Toronto, Paris, Boston, and Bratislava. As well as studying anthropology, animation and illustration, Stasiw has always had a close connection with music.

His earliest musical involvements started with ambient music on Sunday drives, microcassettes, the Windows 98 Sound Recorder and free play with Casio keyboards. Then came a formative procession of piano lessons, orchestras, choirs, taiko, metal, indie rock, tinnitus, and ultimately; the acquisition of music production software.

With his debut album ‘Guesswork’, the aural and visual inspirations that underpin Stasiw's creative life intersect, in a pure, radiant soundworld of space, depth and immaculate clarity. Futuristic, pellucid soundscapes incorporating ambient, minimalism, intricate sound design, and Japanese environmental music are deftly arranged with evanescent chimes, serene tone float, suspended organ notes and curious sci-fi resonances.

Like stepping into some space age meditation garden, if soundtracked by the likes of Hiroshi Yoshimura, Harold Budd, Norman McLaren, and Pauline Anna Strom, the thirteen tracks of ‘Guesswork’ create an exceptional listening experience of wide-eyed wonder, sleek tranquility, gentle melancholy, and singular discovery.

Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.

Today Cork's acclaimed Cardinals announce their much-anticipated debut album 'Masquerade'. Set to land February 13th on tastemaker label So Young Records, the ten song album was recorded with producer Shrink at RAK Studios, London across the summer. It's a record that is at once grand and intimate, awash with romance and flickers of holy imagery, and most of all, it's an undeniable fulfilment of the innate promise the band have shown since their earliest beginnings. These are emotionally expansive songs, some simmering with an undercurrent of violence, cynicism or fervent discontent (Anhedonia, The Burning of Cork, Barbed Wire) and others gleaming with a bright-eyed vulnerability. A vivid first half contrasts a darker second and crafts a record with a clear A-side and B-side. A nod to the band’s collective love of vinyl, that tonal shift takes its cue from a variety of expected and unexpected influences - from the brittle honesty of folk to the theatrical melodrama of goth-rock. Formats and Quantities

Ivan The Tolerable returns with Chromophobia, an expansive new double album and his fourth for Riot Season after ‘Water Music’ & ‘Vertigo’ (both 2024) and ‘An Orphan Form’ (2025)
Chromophobia carries with it a deep personal history. The earliest recording sessions date back to 2018 at the IDI in Middlesbrough, engineered by longtime collaborator Nigel Crooks over the course of three weekends. The material was left unfinished for years, shelved for reasons that accumulated and compounded - until the tragic passing of Crooks in 2023. His unfinished work lingered, and the desire to complete it became a mission.
“In the end, I finished this record for Nigel, above all else,” says Oli Heffernan (Ivan The Tolerable). “It always annoyed him that it never got done.”

To bring the album to completion, the original stems were passed to producer Hugh Major (formerly of Benefits) in early 2024. Across a year of meticulous experimentation - countless versions, radical reconstructions, entire songs torn down and rebuilt - the album transformed into something wholly new. The final collection spans 14 tracks, reimagined from the ground up yet still anchored to the spirit of the sessions that began it.
“It’s a very different beast from where it started,” Heffernan adds, “but I think Nigel would really like it - and be glad it was finally finished.”
Chromophobia stands as both a reinvention and a tribute: a document of persistence, creative overhaul, and the enduring impact of a lost collaborator.

Her natural command on stage, paired with a voice that feels quietly seasoned, has made her one of the most exciting young live musicians emerging from the region. Now, with her first release, a double single featuring the raw, one-take folk recording 'Poison Ivy' and the dreamlike, psychedelic shimmer of 'Forget About' -- Grant introduces the full spectrum of her sound. One track close to the bone, the other lost in a dream, both unmistakably hers. 'Poison Ivy' was recorded when Grant was just 16, in a spontaneous midnight session after finally playing her songs to her dad. With only one microphone, no click, and a single take, the track became a time capsule of her earliest songwriting voice -- fragile, real, and impossible to recreate.

Now featuring Dan Bridgewood-Hill's evocative violin, it stands as a folk recording filled with warmth, instinct and unfiltered emotion. "I tried re-recording it," she says, "but nothing touched the magic of that first take." In contrast, 'Forget About' showcases Grant's emerging production instincts. Influenced by Zero 7, the song began as a kitchen jam before evolving into a lush mix of psychedelic keys, airy electronics and indie- rock textures. Self- recorded in Logic, the track reveals a new dimension to her writing, cinematic and rhythmically hypnotic

It's been a decade since the Soderhamn quintet last released a full album, 2016's Machina Viva, and four years since their last EP, 2021's A Darkened Sun, raised hopes that they were back with a vengeance. Throughout their career, Wolverine have always carried a similar dark emotional heft to their fellow countrymen Katatonia, driven by a sonic wall of sound. Lyrically too, singer Stefan Zell's lyrics pack a powerful emotional punch, and on Anomalies he's at his peak, drawing on those years of exasperation. The Swedes have evolved continuously, from their earliest days toying with death metal sounds, before adding in a more progressive influence on 1999's Fervent Dream EP, before setting themselves up as purveyors of the finest in melancholic prog metal, a flag they continue to carry aloft to this day.

Contains tracks by Amon Tobin, Two Fingers, and Cujo previously only available to members of The Nomark Club, Nomark’s online subscription service.
NOMARK SELECTS Vol.1 includes the first new Cujo music since the Adventures in Foam album (1996)
A compilation of previously publicly unavailable tracks selected by the members of Nomark's online subscription service, The Nomark Club. The album features work from Amon, Two Fingers and sees the return of Cujo, Tobin's earliest alter ego.

Soul Jazz Records new Junglist! is a heavyweight new selection of classic and rare original jungle and features Krome & Time, Cutty Ranks, M-Beat, Bizzy B, Lemon D, Top Cat and more. 
Junglist! tells the story of how jungle and reggae came together to produce some of the heaviest tunes ever made. Get ready for more pounding basslines, fierce Amen breaks and heavyweight ragga vocals — strictly original jungle style from the earliest days of drum and bass. 
All these tracks date from 1993-95, at the height of jungle.

Bert At the BBC is a comprehensive collection of Jansch’s appearances at the BBC, featuring over eight hours of rare and unreleased recordings, including live-on-air spots, studio sessions and full concerts straight from the BBC vaults, delving further into this legendary performer’s canon. Bert Jansch was the very essence of folk music, providing inspiration for everyone from Paul Simon and Neil Young to Led Zeppelin and countless folk revivalists. This unparalleled limited-edition compendium is available as a 4xLP and 8xCD set, housed in a coffee-table book set with a lavish 40-page book tracing the recordings from Bert’s earliest moments at the BBC. It includes interviews and insights from Lauren Laverne, Jools Holland, Johnny Marr, Jacqui McShee, Bob Harris, Bernard Butler, Mark Radcliffe and many more. Twenty broadcasters, producers and collaborators contribute at length to the booklet, with great affection for this gentle, maverick genius. Bert’s BBC legacy remains the most significant and exciting untapped reservoir of his music. The undeniable advantage of recordings made for broadcast is that they were, by their nature, created for public consumption and, barring live-on-air appearances – which might go well or go badly, but were going out either way – were explicitly signed-off by the artist as representations of his art that were good enough to be heard. The set is compiled by Colin Harper, author of Dazzling Stranger: Bert Jansch and the British folk and blues revival (Bloomsbury, 2000), who contributes detailed liner notes to the package. The release is mastered by IFTA award-winning engineer Cormac O’Kane. The vinyl release features 48 tracks on LP and is accompanied by a download card with over six hours of extras spanning 1966–2009, including BBC4’s St Luke’s concert (2003), and a complete Queen’s Hall, Edinburgh concert (2004) for BBC Radio Scotland. It is also available as a special 8xCD set containing all 147 tracks and encased within a coffee-table book. Bert Jansch At The BBC is an epic and enduring trail, 45 years in the making. “He was that rarity, a musician who really did deserve to be regarded as a legend.” The Guardian // “As a guitar player there was no one like him. He was jazz and blues and folk but there was a whole world in there that was just him, esoteric”

The second volume in Death Is Not The End's survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s.

Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

At a time when Hawaiians were reclaiming their language and most new music was written in Hawaiian, Teresa boldly revisited the largely forgotten hapa-haole style - Hawaiian-themed songs in English that once dominated American radio in the early 20th century.

From her earliest work in the 1980s, she treated the genre as serious art, not nostalgia, reviving classics like “My Little Grass Shack,” “Sadie, The South Seas Lady,” and her own modern hit “Uwehe, ‘Ami, and Slide,” which won Song of the Year at the 1988 Na Hoku Hanohano Awards. Her voice brought sophistication and sensuality to songs once considered dated, giving them new life.

With Tropic Rhapsody (2008), created alongside arranger Kit Ebersbach, she perfected that vision. Blending Hawaiian warmth with jazz and Latin rhythms, the album moved gracefully from the shimmering “Lei of Stars” to the lively “Pagan Love Song” and the tender closing of “Aloha ‘Oe.”

In an era dominated by Hawaiian-language releases, Teresa’s decision to make a primarily English-language album was both confident and heartfelt. Tropic Rhapsody remains a modern classic - elegant, adventurous, and unmistakably Hawaiian, just like Teresa herself.

Reisse of Minus the Bear's earliest recordings on Coke Bottle Clear Vinyl. "This Is What I Know About Being Gigantic," is the starting point, Minus the Bear's debut. Originally released on CD in 2001, for vinyl remastered in 2011 by the legendary Bernie Grundman, the Hollywood-based legend behind many of the industry's landmark recordings. A real chance to hear where this sound started...

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

2025 Repress
Juan Mendez aka Silent Servant is a figure in techno history that needs little introduction. As a member of the Sandwell District collective and the label’s art director he collaborated on works that were responsible for a global focal shift in the genre as their label adapted and challenged the paradigm of minimal techno, taking influence from other sources such as dub, post-punk, and even classical minimalism.

But Mendez’s relationship with music goes back much further than these seminal releases. With In Memoriam, Silent Servant’s latest release on Tresor Records, Mendez writes a deeply personal memoir of a 30-plus year career spent exploring and absorbing the shadowy side of music; a carefully crafted elegy to people, places, and times past and the lasting effect they have on the present.

Across the four tracks, Mendez pays tribute to the earliest Detroit techno and electro, the Belgian EBM movement and the wave music that followed, the monumental dub techno sound from Berlin, and the harder, abrasive sound of the UK at the turn of the last millennium; exploring and referencing the genres that informed his later work. Each track name gives a hint to the timeframe he is revisiting and re-contextualising as the E.P. repurposes the styles that exerted an influence on him.

This E.P. represents a pure distillation of Mendez’s memories whilst also cementing his place in the current and future sound of 21st century techno; aware of where we came from but focused on where we are heading.

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series – NOW That's What I Call An Era - Disco: 1973-1980 – a dazzling celebration of the golden age of disco.



This stunning 3LP set, pressed on blue, violet and pink vinyl, showcases 48 essential tracks that lit up the dancefloors, charts, and airwaves at the height of disco fever — an era when glittering anthems, euphoric grooves, and iconic vocal performances defined nightlife around the world.



LP1 opens in iconic style with Chic’s monumental ‘Le Freak’ followed by Sister Sledge’s equally legendary ‘We Are Family’, and Gloria Gaynor’s empowering #1 ‘I Will Survive’. Anthems follow from Sylvester with ‘You Make Me Feel (Mighty Real)’ and Chaka Khan with ‘I’m Every Woman’, ahead of the timeless ‘Young Hearts Run Free’ by Candi Staton and the first side finishes with production by Chic’s Nile Rodgers and Bernard Edwards on massive hits for Diana Ross with ‘Upside Down’, and Sheila & B. Devotion with ‘Spacer’. Flip the LP over for Amii Stewart’s version of ‘Knock On Wood’ followed by The Three Degrees, Eruption and the first smash from Boney M., ‘Daddy Cool’. The Village People topped the chart with ‘YMCA’ which has become an enduring party favourite, which leads to the infectious ‘Let’s All Chant’ from the Michael Zager Band, Lipps Inc. with ‘Funkytown’ and to close the first LP, sci-fi disco from Dee D. Jackson with ‘Automatic Lover’.



LP2 begins with Donna Summer’s epic version of ‘MacArthur Park’, before Earth, Wind & Fire with The Emotions bring pure euphoria on ‘Boogie Wonderland’, and McFadden & Whitehead with the floor-filling ‘Ain’t No Stoppin’ Us Now’. Great vocals from Marvin Gaye and Harold Melvin & The Blue Notes come ahead of George McCrae’s ‘Rock Your Baby’, one of the collections’ earliest and inspirational moments. UK artist Tina Charles hit the top with ‘I Love To Love’, and Andrea True Connection complete the side with the ear-worm ‘More More More’ whilst over on the other side legends Frankie Valli & The Four Seasons hit dancefloor gold and the #1 spot with ‘December, 1963 (Oh, What A Night)’, ahead of The Trammps with their era-defining ‘Disco Inferno’. A Taste Of Honey, Grace Jones and a second appearance from Diana Ross are up next – before the LP closes with an enduring classic, ‘Follow Me’ from Amanda Lear, Patrick Juvet’s ‘I Love America’, and Frantique with ‘Strut Your Funky Stuff’.



LP3 bursts to life with the international smash and UK #1, ‘Yes Sir, I Can Boogie’ from Baccara, before a huge hit cover from Belle Epoque with ‘Black Is Black’. Next; Alicia Bridges, Rose Royce and UK chart toppers The Real Thing, ahead of funk-infused disco brilliance from Kool & The Gang and Barry White – whilst the side closer is Yvonne Elliman’s ‘If I Can’t Have You’, from the Saturday Night Fever soundtrack and over on the final side there’s a stellar run of Disco nuggets: kicking off with Elton John’s irresistible ‘Are You Ready For Love’, originally released in 1979 and a #1 in 2003 along with ‘Boogie Nights’ from Heatwave, The Emotions with ‘Best Of My Love’, and LaBelle’s influential ‘Lady Marmalade’. The anthemic ‘Got To Be Real’ from Cheryl Lynn is next ahead of the trio of closing tracks: Odyssey with the sublime ‘Native New Yorker’, Thelma Houston’s Grammy-winning ‘Don’t Leave Me This Way’, and fittingly, Donna Summer’s iconic ‘Last Dance’, ending the collection in perfect style.



An unforgettable journey through the songs that defined the dancefloor: NOW That’s What I Call An Era – Disco: 1973-1980 — the definitive celebration of disco’s golden age.

This is a reissue of the original 1963 album El Decano De Los Cantores 4. Chuíto el de Bayamón (Jesús Sánchez Erazo) was a legendary Puerto Rican troubadour and one of the earliest jíbaro singers to appear on the radio, also known as "el decano de los cantores" (the dean of the singers). Known for his witty décimas and lively improvisation, he helped popularize traditional Puerto Rican music. His work influenced generations, including salsa greats like Héctor Lavoe. In the 1940s, he became the lead-singer for cuatro player and composer Ladislao "Ladí" Martínez's Conjunto Típico Ladí, created in New York City. With Ladí, he recorded "Un jíbaro en Nueva York," a controversia with Ernestina Reyes "La Calandria." It was actually Ladí who baptized him as "Chuíto el de Bayamón". From 1949 to 1977 Chuíto collaborated with Abelardo Díaz Alfaro, the famous Puerto Rican author, in the radio program "La vida de Teyo Gracia y su mundo" aired in WIPR. In addition, Chuíto participated in the films "La trulla" (1951), "Preciosa" (1965), and "El otro camino" (1959). Throughout his career Chuíto recorded more than 40 LPs and performed in New York, Boston, Chicago, New Jersey, Hawai'i, Spain, Cuba and other Latin American cities. His repertoire is characterized by its witticism and sense of humor, and sophisticated musical arrangements. Along with Flor Morales Ramos "Ramito", Odilio González and Daniel Santos, he had a huge influence in the singing style of Puerto Rican salsa star Héctor Lavoe. In 1975 and 1976 he was recognized with the "Agüeybaná Gold Album" award. This is the forth edition of Ansonias Chuito reissue series.

Beloved for their cinematic songwriting and atmospheric blend of folk, rock, and psychedelia, MIDLAKE returns with their sixth studio album, A Bridge To Far—a sweeping, soul-stirring meditation on resilience and hope. Lead singer Eric Pulido describes the record as a reminder that, regardless of circumstance, there is a place—“not made of stone”—where one can find solace and strength. It’s a call to persevere, to “go bravely arm in arm and climb upon,” inviting listeners to transcend the darkness through connection and belief. This is MIDLAKE at their most inspired and intentional, weaving together mythic storytelling and emotional clarity with the signature textures that have made them a touchstone in modern independent music. Recorded in the band’s hometown of Denton, TX at The Echo Lab with acclaimed producer and mixer Sam Evian, A Bridge To Far captures the warmth and wildness of the band's earliest recordings while pushing into luminous new territory. The first single, “The Ghouls,” arrives as a haunting and propulsive introduction to the record’s themes—equal parts spectral and cathartic.

Sanguis is the alias of Berlin-based producer Ludwig Wandinger, a fixture in the city's experimental scene.
On his debut album Wounding dark ambient textures and solo piano improvisations let the listener's attention slip in and out of focus creating a liminal state of dreaming, feeling and drifting through inner worlds and thoughts.
Wandinger tries to capture fleeting moments - all tracks are unedited first takes, some recorded only with his phone in various places, from a friend's flat in Neukölln to his family home in rural Bavaria. Background noises become a part of the music and create a tangible sense of place, urging the listener to keep an ear out for one's own surroundings.
Though firmly rooted in the ambient genre, the album is not just about finding comfort. It's an acknowledgement of the ambiguity of our world where menace and beauty coexist, a dichotomy most apparent in nature itself - a constant source of inspiration for Wandinger.
Wounding is about walking alone on damp foliage at night and being handed a blanket by a loved one at the earliest daylight.

Repress!

200 COPIES ONLY

Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.

Holy Sons is the largely solo project of Emil Amos (Grails, Om, Lilacs & Champagne). Puritan Themes is his 17th album and his 4th for Thrill Jockey Records and a tentpole album in his wide-ranging output, including myriad private press LPs, collections of oddities, and conceptual series". Puritan Themes" relaxed vibes are influenced by the laid-back west coast rock sound of mid-period Fleetwood Mac, blended with a dose of psych distortion and imbued with the breeziness and ease of yacht rock. Puritan Themes is a record that knowingly, barely fits into the modern world. When mixing the record in Chicago, everyday Amos skated through Douglass Park listening to podcasts about the inner workings of The Band, listened to 70"s AM radio while washing dishes and went to sleep at night to early Bee Gees interviews. The earliest concept of the record was based around the track "Chain Gang" which was an imaginary take on if Cat Stevens had smoked a ton of salvia and taken a much darker route within that world of dense, story-telling/message-based songwriting. The track "Raw & Disfigured" borrows its name from the last Thrill Jockey Holy Sons record, in a referential move that"s stolen from the way Led Zeppelin separated the track "Houses of the Holy" from the record of the same name (once again harkening back to 70"s lore).

"It may surprise some that, after two decades of silent films, when Alam Ara broke the silence in 1931, it and every South Asian talkie that followed was what we in the West think of as a "musical." Music had been integral to the culture's staged drama going back to the Gupta Dynasty — sometime between the 4 th and 6 th Century CE. Since its inception, South Asian cinema drew heavily from Marathi, Parsi, and Bengali musical theatre and silent film screenings were often accompanied by live music to mimic a live staged experience.

When sound films arrived, actors with serious singing skills became the next wave of stars. Songs were performed live while shooting, with musicians hidden off-camera, to the side or sometimes even in trees. Playback singing — the practice of dubbing a real singer's voice over a lip-syncing actor — didn't become standard until the 1940s.

Thus, the biggest stars of the 1930s were also the greatest singers, with some, like Govindrao Tembe and Pankaj Mullick, excelling as both composers and vocalists. None, however, were more beloved than K.L. Saigal, whose emotional, untrained crooning captivated audiences across the subcontinent. Saigal's voice inspired a young Lata Mangeshkar, who vowed to become India's greatest filmi singer to win his heart. Sadly, Saigal grew increasingly addicted to alcohol, unable to perform without it, and passed away at age 42, seven months before the Partition. Lata never married.

This collection features some of the earliest songs from South Asian cinema, sourced from CDs and LPs found in Jackson Heights, Queens, Coney Island Avenue in Brooklyn, Lexington Avenue in Manhattan, and Oak Tree Road in Iselin, New Jersey — areas home to vibrant immigrant communities. South Asian immigration to New York and New Jersey surged after the 1965 Immigration and Nationality Act, which lifted non-European quotas. By the 1990s and 2000s, the region's Indian, Pakistani, and Bangladeshi media outlets flourished, especially in Jackson Heights, where such stores outnumbered the total number of regular record shops throughout the five boroughs.

The nascent period of sound film featured a limited palette of musical styles, predominantly Marathi Bhagveet, like the Ghazal, but with greater flexibility of subject matter and rhythm, and Rabindra Sangeet, the approximately 2,000 songs and poems composed by Bengali Nobel laureate Rabindranath Tagore. But there was some evolution as well, with the success of South Asian cinema's first woman composer, the classically trained Saraswati Devi, and the introduction of Western instruments including the piano and Hawaiian guitar.

While much of the music was dark and brooding, perhaps exemplified best by Devika Rani's interpretation of Saraswati Devi's "Udi Hawa Mein" from 1936's Achhut Kannya (Untouchable Maiden), there were moments of brightness, such as R.C. Boral's "Lachhmi Murat Daras Dikhaye" sung by Kanan Devi in Street Singer, an otherwise thoroughly depressing film from 1938 that cemented Devi's and co-star K.L. Saigal's superstardom.

This selection was chosen to emphasise a range of expressivity, instrumentation and style achieved even within the decade's relatively limited scope, setting the listener up for the relative explosion of possibility in the 1940s, to be covered in the next installment of this series."

Forming as teenagers in the late 70s, female vocal group Black Harmony was comprised of Diane Cape, Dup'e Odelade, and Denise Mansfield (sister of Ingrid Mansfield-Allman, lead vocalist on Freeez’s ‘Southern Freeez’).

Whilst their much-loved 1979 cover version debut ’Don’t Let It Go To Your Head’ (Jean Carn) was a hit on the UK reggae charts, gaining major label distribution, Black Harmony’s self-penned 'Let’s Be Lovers’ has arguably become the trio’s most coveted work amongst collectors.

Originally released in 1981 by Tony Owens’ Cyprian Records imprint and distributed from his shop, Seven Leaves Records in Kensal Rise, the single marks one of saxophonist and flautist Courtney Pine’s earliest appearances on record as a member of the backing band Inity Rockers.

Clarence Carter, blind from birth, was a blues singer with lascivious wit, a talented guitarist, a songwriter with a twinkle in his eye, and a champion of down-to-earth soul grooves who taught himself to play the guitar.

He sang in a gospel choir, completed a degree in music, and grounded the duo Clarence & Calvin but was not however very successful.

After a car crash involving Calvin Scott, Carter started on a solo career and signed a contract with Rick Hall and the Fame label as a soloist.

Among the earliest singles recorded at the Muscle Shoals studio were a few hits. After leaving Fame for Atlantic, he managed to enter the Top 20 of the R & B charts with "Looking For A Fox". His breakthrough came with "Slip Away", which sold a million copies and was awarded a Gold Record.

The legendary Fame Studios in Muscle Shoals remained the home basis, as it were, for Carter during his career with Atlantic. "This Is…" begins with a contemplative, soft sound. "Do What You Gotta Do", written by Jim Webb, is a lovely, melancholic mid-tempo ballad, saturated with Barry Beckett’s keyboard and smothered by lush, plaintive winds.

But the man is primarily funky here … as three danceable, finger-snapping tracks prove; "Wind It Up", with further witty improvisations and a fervid organ solo, the highly syncopated, playful "Thread The Needle", and the smoky, irresistible "Funky Fever" – all written by Carter himself.

Dan Penn’s and Spooner Oldham’s "Slippin’ Around" has an unorthodox bossa nova-like beat that is reminiscent of Ray Charles’s "What’d I Say", while Carter’s unmistakable chuckle is to be heard for the first time on the riotous funk-rock number "I’m Qualified", which has the very same unique, infectious groove as was to be heard on Wilson Pickett’s "In The Midnight Hour". "She Ain’t Gonna Do Right", composed by the same man, brings more Alabama Country to the mix, whereby Beckett contributes a catchy, persistent organ riff in the refrain.

One of our all time favorite New York dancehall tunes, finally back again. 20+ years ago, in a different era of reggae record collecting where there was little to no information to be found about so many '80s reggae records, the original 12 inch single of this one was a mythical tune among our set of friends. In fact this one was on the earliest DKR wish lists, but all good things take time. By now we expect most of our followers know Junior's digital masterpiece "Rampers Music", which we first issued in 2014, and is now back in stock. But this one is his earliest and first tune, a heavy piece of a rub a dub cut at Munchie Jackson's Sunshine Studio in the Bronx, with Jackie Mittoo at the helm of the session. The original 12 inch was self released by Junior on his own label in 1985, with one of our all time favorite label designs. The lyrics are a great snapshot of mid 80s New York, a nod to all those making their way, for better or worse, thru the posses and cliques of the Jamaican scene of the day.

A photo in Rodney Stepp’s scrapbook sums this period in his life in music. It’s 1974, The Spinners were headliners at the “Zaire 74” music festival, a sideshow to Muhammad Ali’s fabled “Rumble in the Jungle” fight with George Foreman. Among the faded snapshots, there’s a picture of Stepp backstage posing arm in arm with Ali; another image shows The Greatest seated at Stepp’s Fender Rhodes alongside vocalist Etta James. It was all a dream for this Naptown wunderkind, who had previously recorded for Herb Miller’s LAMP Records as the Diplomatics and had issued the sweet soul killer “Young Girl” as Jazzie Cazzie and the Eight Sounds on a rare Knaptown 45. (These recordings have been documented on the Now-Again LAMP anthology and our Loving On The Flipside compilation.) But as exciting as his rise out of those local status was, as exciting as it was to headline festivals and arenas and appear on late night talk shows, Stepp grew restless with the mechanical routine of being a sideman. He grew tired of playing the same charts night after night. He was hungry for a creative outlet that mimicked his earliest days in recorded music. So, in 1978, Stepp left The Spinners and returned to Indianapolis, where he established an all-stargroup of musicians–including members of Jazzie Cazzie and the fabled Amnesty–and he named the band Rapture. They inspired countless others. They recorded an album’s worth of material. Now-Again’s Egon first got tapes from Stepp in 2002 and dutifully transferred them, but the time was not right for a foray into this wealth of material. Come 2025, and this is the first time it Rapture’s music is seeing the light of day, a triumphant, late career moment for Stepp and a cause for celebration of those intrigued by deep, sweet soul and disco funk

Escalator" by Sam Gopal feat. Motorhead’s Lemmy – A Psychedelic Gem
Released in January 1969, Escalator is the only studio album by the British psychedelic rock band Sam Gopal, led by tabla maestro Sam Gopal himself
Unique both in sound and lineup, the record blends Eastern percussion with psychedelic rock and has garnered cult status—especially thanks to guitarist/vocalist Ian “Lemmy” Kilmister.
This record marks Lemmy’s earliest studio work, before his stints with Hawkwind and of course, Motörhead, making it a vital piece for fans of his legacy.
Incl. Unreleased tracks “Horse/back Door Man”
180 gram vinyl + insert

„KC Rules OK“ wurde ursprünglich am 19. September 2005 in Großbritannien veröffentlicht und wurde schnell zu einem Fanfavoriten, der King Creosote (alias Kenny Anderson) als einzigartige Stimme im britischen Indie-Folk etablierte. Um das 20-jährige Jubiläum seit seiner Erstveröffentlichung zu feiern, wird King Creosotes bahnbrechendes Album „KC Rules OK“ neu aufgelegt. Das Album brachte mehrere bemerkenswerte Singles hervor, darunter „Bootprints“, „Favourite Girl“ und „678“, die alle Andersons unverwechselbares Songwriting zur Geltung brachten. Die 2CD-Deluxe-Edition vereint eine Sammlung von B-Seiten, Songs und Remixen, viele davon aus der legendären, unveröffentlichten Promo-CD „Chorlton And the Wh’Earlies”, darunter vier Songs, die kommerziell völlig unveröffentlicht sind und derzeit nicht digital erhältlich sind.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.