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Originally reissued as part of the Promise Kept: The Complete Artist House Recordings boxed set, now available separately LP contains the original 5 tracks – CD/Digital include an additional 3 bonus tracks Remastered by Grammy® winner Michael Graves, with vinyl cut by Jeff Powell Producer John Snyder had always wanted to record Pepper and booked him into a week at the Village Vanguard in New York. At the time, Pepper was under contract to Contemporary Records and label head, Les Koenig, decided he would record the gigs, quashing any notion Snyder had of doing the same. However, Art promised Snyder that he’d record an album for Snyder’s label, Artists House, at some point down the road. Together they wound up making four. Here again on vinyl, CD & Digital are the original albums drawn from these sessions, lovingly recreated in their original form, remastered by Grammy® winner Michael Graves and recut by Jeff Powell. So In Love (originally issued in 1980) features Pepper’s takes on classics from Thelonious Monk, Cole Porter, and Hoagy Carmichael, plus a pair of originals including “Blues For Blanche.” The CD and Digital add three bonus performances from the sessions. The AllMusic review by Scott Yanow noted: "Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations". “John and Art both kept their promises. John brought Art into the wider world; he put him on the road. Just as he said he would, he brought him to New York and to the Village Vanguard, got his picture in the papers, got him on the radio. From Art, John got his dearest wish. He made these recordings.” —Laurie Pepper






[f] 6. Yesterdays (Take 2) [Bonus Track]
[g] 7. Landscape [Bonus Track]
[h] 8. Straight, No Chaser (Take 4) [Bonus Track]

Recorded in the early 2000s, The Sand Dollars' two Tropicália-inspired remakes of classic late 60's nuggets by The Kinks and Donovan are paired together for the first time here on F-Spot Records' new subsidiary label Pangea International Recording Co., which focuses on world and global groove inspired releases, curated by David M Celia and Dan Ubick.

From the vaults of Dan Ubick's Lions Den Studios, we get the crown jewel in Ray Davies' catalog, "Waterloo Sunset" from Something Else by The Kinks, redone as a funky Tropicália-inspired track and re-named "Waterloo Bossa" complete with fuzzy compact organ, bouncy Fender bass, funky drums from Connie Price, a lush horn arrangement by Ubick's former Keystones cohort and trumpeter Todd M. Simon (Dap Kings, El Michels Affair, Macy Gray), string arrangement by mix guru and multi-instrumentalist Steve Kaye (The Lions, Inara George, Hepcat, Marley Bros.) and topped off with stereophonic vocals by jazz chanteuse Gretchen Parlato (Herbie Hancock, Wayne Shorter, Esperanza Spalding, Lionel Loueke).

Side B's "Get Thy Bearings" was initially pressed on Now-Again Records back in 2003 and quickly sampled by Lily Allen on her track "Sunday Morning" due to the raw and heavy drums and Fender bass courtesy of Connie Price and Richard "Doo" Lee along-side inventive horn arrangement by Todd Simon flipping the original on its heady head. Now freshly mastered, this B-side instrumental is available again as the hard-hitting remake of Donovan's classic from 1968's The Hurdy Gurdy Man LP that may inspire you to sample it as Biz Markie did on "I Told You."

The Kevin Fingier Collective is back with a brand new 7" single release, featuring Diane Ward, on our group label Fingier Records. An explosive side for the club dance floor, 'I Really Care' is a hybrid of R&B and Northern Soul with funky guitar, driving piano and killer horns. The B-side, 'The Great Akerman', is exclusive to the 7" - a flute and organ flavoured Bossa/Mod Jazz instrumental, with the Fingier signature touch.

Another dynamite release from Latin America produced by Kevin Fingier, offering shades of what is to come from a full album due later this year, hot-on-the-heels of the recent comp 'El Sonido de Fingier Records'. Fingier 45s are known to sell out fast, so don't sleep - order now!

The first ever episode of Doctor Who aired on the 23rd of November 1963.

To celebrate sixty years of the TV show that has become a national institution,

Silva Screen Records are releasing the soundtrack to Series 5 as it first appeared on CD back in November 2010.

Steven Moffat’s new vision of Doctor Who, with Matt Smith as the eleventh Doctor, was perfectly matched by Murray Gold’s score in Series 5.

This album features music from all 13 episodes of Series 5 on triple coloured vinyl in a special gatefold sleeve.



“I think that Murray Gold is incredible, totally incredible, a genius” - Matt Smith

Music performed by The BBC National Orchestra Of Wales and Crouch End Festival Chorus

Solo Vocals by Yamit Mamo, Melanie Pappenheim and Dorie Jackson

Conducted by Ben Foster

The supremely swinging pianist Sonny Clark hit the Blue Note scene in 1957 with a burst of creativity recording three albums in three months including the sublime Sonny Clark Trio, a six-song set of bebop themes and standards featuring bassist Paul Chambers and drummer Philly Joe Jones.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

"No Jacket Required" is the highly successful third solo album by Phil Collins. Released in 1985, it features a blend of pop, rock, and R&B. With hits like "Sussudio," Collins' soulful vocals and catchy melodies dominated the charts. The album's polished production and heartfelt delivery solidified Collins' status as a prominent figure in 1980s pop music.

Tenor saxophonist Hank Mobley had been recording for Blue Note for a decade when he made his excellent 1965 album A Caddy for Daddy featuring a first-class sextet with Lee Morgan on trumpet, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

DJ Clear X DJ Kurtiss Featuring Alicia Keys DJ Clear and DJ Kurtiss (Curtis Vodka) team-up for a double dose of fresh remixes of this soulful slept on classic interlude. Taken from the multi-platinum sophomore album The Diary of Alicia Keys released back in '03, these remixes breathe new life into this incredible Alicia Keys production.

Seit 2005 schaffen es Local Natives sich immer wieder neu in die Indie-Herzen ihrer Fans zu spielen und liefern nun mit „Time Will Wait For No One“ den nächsten Soundtrack für einen ausgedehnten Roadtrip im Sommer.

In L.A. leben viele Menschen, die auf der Suche nach dem einen Trick sind, der ihnen hilft, sich zu verwirklichen, erfolgreich und glücklich zu werden. Es ist ein lohnendes, aber zum Scheitern verurteiltes
Unterfangen, und das Beste, worauf wir hoffen können, ist, in einem Moment präsent zu sein. Das Album der Local Natives kommt in einem Moment der persönlichen Metamorphose. Das frühere Selbst schmilzt dahin, einige werden Väter, andere durchleben Zeiten der Isolation, des Verlusts und der Identitätskrise.

Time Will Wait For No One ist ein Mantra der Beruhigung als Antwort auf unerbittliche Veränderungen.

Debütalbum der Stuttgarter Hard Rock/Metal Band Front Row Warriors. 2019 von Jay-G, (Drums/ Shining, Sharon), Elkie Gee (Gesang / Ampyre, Antares) und Sorin Badin, einem bekannten rumänischen Gitarristen (Cardinal, Samsara, Crystal Maze) gegründet. Hinzu kamen noch Richie Seibel (Keyboards/ Lanfear, Ivanhoe, Them) und Timo Michels (Bass / 5. Staffel, Pump) und Gitarrist Stef Binnig-Gollub (Septagon). Eine musikalische Reise durch die Ära des Hardrock und Metal der letzten 30 Jahre, mit herausragender Gitarren- und Keyboardarbeit und eingängigen Hooklines. Jedes Bandmitglied repräsentiert einen der verschiedenen Stile und Einflüsse, die den Sound der Front Row Warriors ausmachen. Die Band wurde 2021 vom Verband Deutscher Rock- und Popmusiker zum "Besten Hardrock-Act Deutschlands" gekürt. Die gelungene Mischung aus AOR, getriebenem 80er- und 90er-inspiriertem Hardrock und flotten Uptempo-Nummern sowie epischen Balladen findet sich nun auch dem mit Spannung erwarteten Debüt. Als Special Guest glänzt der US-amerikanische Sänger Todd Michael Hall (J. Starr's Burning Starr, Riot V) auf dem Song "Dystopian Times", für den Sängerin Elkie vom Deutschen Rock- und Popmusikerverband zur besten Hardrock-Sängerin des Jahres 2022 gewählt wurde.

7A Records are proud to announce the reissue of Dave Edmunds’ 1979 Rock Album, Repeat When Necessary, released on vinyl on August 25.
The Album
Originally released on Led Zeppelin’s Swan Song label in 1979, Repeat When Necessary went on to become Dave Edmunds’ biggest album. The album was not only his first to chart in the U.K. but his first to make the U.S. Billboard 200. Its lead single, the Elvis Costello-penned Girls Talk, became Dave’s biggest hit single since his revival of “I Hear You Knocking,” an international smash in 1970.
Dave Edmunds and his Rockpile colleagues (including Nick Lowe, who is also featured on this album) epitomized the back-to-basics approach of Great Britain’s pub rock scene. The band also incorporated strong power pop and rockabilly influences and paved the way for new wave. This fusion was arguably never more potent than on this album.
7A Records were granted full access to the original master tapes and the album has been remastered for vinyl by Roger Béchirian, who was also the studio engineer for the original release. The album comes in a gatefold sleeve featuring extensive sleeve notes and song lyrics and is pressed on Red 180g Audiophile Vinyl.

Fourth release for the London-based E2-E8 Records. Whilst continuing on the path set by Orphic’s widely acclaimed “Shelter EP”, this one marks a return to the label’s beginnings. Music comes from rapture wizard Miro Sundaymusiq, who featured on E2-E8’s first release and previously appeared on Carl H’s Animals On Psychedelics. And the Animals On Psychedelics sound is very much what’s channelled here with ITWT (we’ll let you figure out what the acronym stands for!). A suspended number with plenty of tension in the first minutes, with a change in atmosphere when you least expect it.

On the B-side we are delighted to have S.O.N.S providing his interpretation of ITWT. One for peak times and booming speakers, a sea of low and high frequencies blending together. This one will appeal to discerning dance floors while firmly standing the test of time.

On behalf of re:discovery records, it is with great excitement that we announce the reissue of the illusive 1993 EP 'Clouds Over Europe' out of Sweden.

This EP was orginally only 100 promo white labels without a proper full production release due to pre-internet slow communication from pending labels that were interested but never followed through. Music was changing so fast at that time, a year later perhaps those labels changed their mind. We will never know. Aquarian Atmosphere 'White Clouds' is the most highly regarded track from this album for many diggers.

An amazing ambient techno track that sounds like classic Rising High records material to us. Sure to be played at chill out rooms everywhere. In 2021 re:discovery released a cd of unreleased music from Unit21. He is also featured here with an unreleased and we think even better version than the original of Clubbtraxx (Movement 1) along with a trance track from 39626 named 'Elixir of Life'. Surrounding those 3 tracks are 2 more unique 90's gems from Aquarian Atmosphere. Original copies of this white label being exchanged for $100 a copy isn't unusual at record fairs and online. We are really proud to finally help bring this piece of Swedish ambient techno history to a wider audience. Dare to Dream isn't just our credo but a lifestyle of listening to space music among the stars.

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.


The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases!


Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.
These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes.

As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection
celebrates these first old-school rap
records, bringing together rare, classic
and obscure tracks released in the
early days of rap.

La Escuela Moderna launches with a retrospective revisiting the UK electro and breaks scene at the turn of the millennium. A double album featuring eight tracks, Tactical Shifts covers the years 1995 - 2003, presenting a vibrant era celebrating the creativity and innovation that characterised this pivotal era in British electronic music.

The compilation opens with the starry-eyed Ayemooth, an early transmission from The Wee Paton (The Wee Djs, Distorto). Followed up by The Illistines channelling the free spirited Castlemorton. Re-Incarnated sees the trio on a percussive funk roll. Opening the B-side, System UCS (Neil Keating and Harold Slater) provide a growling electro track with Memory Trace, first released on Break/Flow. The first record closes with a rugged breakbeat number by Milo Smee AKA Kruton.

Rag and Bone co-founder NoYeahNo opens the B-side with the rollicking Pushing Percussion, an early entry in the seminal label. Nick Philphin and John O'Donnell's Orphic project brings the relentless beat science of Obvious Intruder. Lunar builds momentum with the bleepy breaks of Orbiting Ganymede and Phil Holmberg AKA Schematix wraps up the comp with the sinuous pads of Magnum Six.

Repress!

Ska, rocksteady, funky reggae, roots, dub mixes, disco mixes, they're all here from the queens of the Jamaican music scene - Studio One Women features a wide mix of classics and obscurities from the finest female voices in reggae.

Until now most of these tracks have only ever been available as extremely hard to find Jamaican 7" and 12" singles and even if you were lucky enough to find them they'd cost you a small fortune

Marcia Griffiths and Rita Marley (here with her first group The Soulettes) are two of Jamaica's most famous female singers hugely popular today. Both these artists became internationally famous as The I – Threes (along with Judy Mowatt), Bob Marley's backing singers alongside The Wailers. Also featured are Hortense Ellis, sister of Alton who cut many smash hits on the island, and Jennifer Lara, a lady who had a long career with Studio One, singing on countless sides.

Studio One is the greatest label in the history of reggae and is the foundation of all reggae music. It's where virtually every world renowned Jamaican superstar started out, Bob Marley and The Wailers included. Under the guidance of the legendary Clement Coxsone Dodd the musicians at Studio One recorded hundreds of instrumental rhythms which still provide the backbone for many of the records made in Jamaica today.

Soul Jazz Records are releasing this latest Studio One compilation which features non-step 100% stone-cold classic Studio One killers! Spanning 40 years of the legendary label, this album is a fitting tribute to Clement "Sir Coxsone" Dodd and is a who's who of Jamaicaan Reggae.

Foundation music are proud to present our second project with the formidable talent that is Crooked Man aka Parrot, known to his mother as Richard Barratt.

The DJ turned producer from Sheffield, founder and resident at the seminal Jive Turkey night, member of Warp’s Sweet Exorcist, musical partner with the late great Richard H Kirk (Cabaret Voltaire), producer to such maverick talents as Roisin Murphy and Add N to X, longtime Jarvis Cocker collaborator and remixer to a myriad of artists over several decades.

More recently, Parrot's project with internationally renowned Jazz singer Lady Blackbird, Athletes Of God, released two singles on Foundation Music ‘Don’t Want To Be Normal’ and the clubland hit ‘Fontella’ that were both playlisted by 6Music.

Lady Blackbird now flies the nest, with the divine Earth Angel swooping into her place. A seminal, reclusive, heavenly voiced singer, also from Yorkshire and with deep roots in the soul and dub scenes… And no, it's not Lisa Stansfield!

A project that has its roots way back in the Sheffield’s Blues parties and Jive Turkey itself. The club being a home to all forms of exciting new Black music, from ’85 through to the early days of the UK’s dance explosion. It sees Parrot take all that he has achieved, written and learnt over the years at the cutting edge of electronic, dance-inflected, production and DJing returning to those heady days of down tempo, body moving, speaker shaking music that would move the British underground soul/funk scene in the mid to late 80’s.

Call it 'street soul', '80’s soul', 'electro soul'… Earth Angel is all of those things but it is also very firmly rooted in the NOW! Not some retro pastiche, it incorporates so much more. With elements of techno, bleep, dub and any other studio trickery that Parrot cares to employ in order to suck you into Earth Angels’ druggy, hypnotic, sexy, “Mogadon Soul”. A four songed, eight tracked vinyl EP, featuring some classic songwriting from the glory days of soul and Crooked Man’s bass heavy electronic rhythms.

Welcome to the heavenly world of Earth Angel, the journey starts here.


DJ Support:

Luke Una, Ross Allen, Sean Johnson (ALFOS) & Kebal.

On their sophomore effort Tusky, surrealist duet Robbie & Mona ascend beyond the lo-fi scrawlings of their debut album to something altogether more grandiose. Between the lights down drama of sprawling opener ‘Sensation’, to the ‘roll credits’ coda of closer ‘Always Gonna Be A Dead Man’, Tusky exists as a glitzy, lucid journey playing out before the listener.
While debut album EW captured William Carkeet and Ellie Gray as they were finding their feet with one another, creating Tusky was a wholly symbiotic process from day one. “We got better at knowing what each other wanted,” William offers. “This was the album that we were trying to make from the beginning.”

Simultaneously evoking multiple eras of music, the album drifts through worlds of synth pop, jazz, trap, drill, ballroom waltz and leftfield electronica, with the scatterbrain sound palette melded by a peppering of instrumental motifs and William’s addiction to sampling sounds across multiple tracks. “I wanted there to be this weird dimensional thing going on,” William explains, “where songs from the album are playing in multiple places.”

The record sees an expansive cast of musicians assembled, with a much heavier focus on live instrumentation than previous outings. Alongside the expected fare of crackly synths, samplers and drum machines, Tusky gets its glossy sheen from a rich tapestry of jazz drums, double bass, grand piano and saxophone.

Most of the tracks are laden with improvised saxophone from Campbell Baum (Sorry, Broadside Hacks) and Ben Vince (Housewives, Joy Orbison), much of which was scrambled by William in post-production, lifting scraps from one song and layering them atop an entirely different track. Elsewhere, session musicians were cherry picked, including Bingo Fury, his drummer Henry Terrett, and a string ensemble led by Caelia Lunniss and Jo Silverston (Spindle Ensemble).

Most surprising is a rap feature from Monika (of South-East London collective Nukuluk), who brings album centrepiece ‘Mildred’ to new heights with a fiery verse on pain. Aside from being the most unlikely addendum to a sombre piano ballad, it demonstrates Robbie & Mona’s natural state of playfulness, forever following emotions and sensuality over any notion of traditional compositional boundaries.
Many of Tusky's tracks owe their inception to cinema, be it the soundtrack to Betty Blue, the glowing films of Wim Wenders, or the surprising parallels between La Belle Et La Bete and Bad Boys. Equally, much of Robbie & Mona's new-found sense of tension and spectacle comes from William’s recent work soundtracking independent filmmakers, while Ellie gave greater priority to threading a narrative through her stream of consciousness writing style.

In all its majesty, Tusky celebrates creativity with creation. “If you begin to see fiction as real, you can reincarnate and become different things. You can grow,” Ellie implores. “Nothing stays the same. You can shed old characters in yourself. There’s great joy in that.”

Singular Texan musician Craig Clouse hurtles unstoppably towards the 20th birthday of his dancefloor-splintering electronic project Shit And Shine, releasing a landmark LP, his first full-length for The state51 Conspiracy, ‘2222 And AIRPORT’. Acid house, minimal techno, electro, funk, krautrock, hip hop, found sound, spoken word, live percussion and industrial are blown apart stupendously and then reassembled – mad-scientist style, in a way peculiar to Clouse – into 13 hypnotic and transportative tracks.

Lead single SWISS, out 24 March, is a gloriously minimalist funk jam that sounds like the exact point at which someone turns the lights off at a lowkey house party and a wild night for the ages gets under way. An almost scornfully skeletal riff, sounding like a misfiring Cyberdine Systems Model 101 summoning up a Prince circa Sign “O” The Times riff while crashing head first into the hyper-processed early work of Prefuse 73, also featuring a cheeky sample of revered Mancunian DJ Luke Una talking about “existential fucking darkness”.

This is followed on 4 April by INFINITE SHITE, arguably the epic central track to the album, is a Shit And Shine banger for the ages, its dancefloor affect, undeniable. An unforgiving, pulsating Byetone-style bass drone worthy itself of being blasted on a Funktion-One rig, is just the background for a colossal acid b-line, destroying all in its path.

Micro details bristle at the liminal level, threatening to only reveal themselves to those in a club, those listening on headphones or those experiencing a heightened sensory state.

A seismic, cinematic double dose from two sonic veterans with previous in Wire, Electrelane, and Better Corners. MEMORIALS’ kaleidoscopic debut covers broad musical territory, encompassing protest songs, fuzz-flooded pop, searing drone, and psychedelic freakouts whilst carving out a sound that is uniquely their own.

Both halves of this dynamic double album were originally conceived as individual film soundtracks but once the multi-instrumental duo of Verity Susan & Matthew Simms brought ‘Music For Film’ into a live space, the desire to shape it into a cohesive whole was more than they could resist. The resulting, intoxicating, musical odyssey can be viewed independently from the associated films and stands proudly as an ambitious artistic statement.

“The music we like and admire ranges from challenging to really tuneful, and we try to bring all that together in a way that sounds natural.” - MEMORIALS

‘Music For Film: Tramps! & Women Against The Bomb’ – is scheduled for release on May 12th 2023 via The state51 Conspiracy. The limited double LP (500 only) comes in an embossed reverse board sleeve and indie shop editions will also include an exclusive poster.

A quick five-year jump from 2018 takes us to the long-awaited comeback of the Will & Ink imprint. The Amsterdam collective was inaugurated exactly 10 years ago and has since gained fame for its exciting catalogue of forward-thinking, wonky techno experiments.

One of their mainstays for years, Yaleesa Hall, now presents (drops) a fresh batch of absolute dance floor madness with the Cullen EP. The EP features four experiments in highly energetic stepping electro, broken techno, and rumbling subs. It marks an exciting return and serves as a promising taste of what's to come.

3 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY. All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.
ESSENTIAL ITEM - LIMITED EDITION - NO REPRESS

Amsterdam based musician/producer Djosa (long time band member of Arp Frique & The Family) joins the Rush Hour Store Jams imprint with two uplifting songs. The legendary Ronald Snijders is featured on ''Vampiro" with whom he (together with Arp Frique) made the documentary Easy Man and the album The Nelson & Djosa Sessions. TIP!

Please note: Due to an unfortunate production mistake, the tracklisting on the labels and sleeve are in the wrong order. The correct order is: A. Botanica Obscura and B: Vampiro (feat. Ronald Snijders).

The legendary Ultramagnetic MC touches down in London for a one-away collab with We Are The Horsemen, featuring the one and only Kaidi Tatham.


What you sayin’, Kool Keith...? Enter your spaceship for a transatlantic meeting of minds as the legendary Kool Keith links up with We Are The Horsemen (Outernational Sounds head honcho Harvinder Singh Nagi and producer Sub One) and the great Kaidi Tatham for a future-jazz flavoured trip through the great MC’s London adventures.

Kool Keith needs no introduction to hip-hop heads worldwide. As one of the greatest MCs ever to touch the mic, Keith has never stopped innovating and progressing. From his days in the seminal 1980s Bronx unit Ultramagnetic MCs, through his pioneering development of new conceptual characters and styles in the 1990s (Big Willie Smith, Dr. Octagon, Dr. Dooom, Black Elvis), to his continuous run of radically independent recordings in the 2000s and beyond, Kool Keith defines rap longevity and artistic originality. No one else in hip hop has a comparable record of continuous reinvention, conceptual boldness, and stylistic panache.

And after four decades in rap, Keith is still one of the hardest working rappers in the game, perpetually seeking new sounds to spit on and new collaborators from across the musical spectrum. Fresh off the acclaim for his new Black Elvis 2 release, the protean MC has touched down on Outernational Sounds for a unique collab with We Are The Horsemen and Kaidi Tatham. ‘London Is The Place’ finds Keith riding the Horsemen’s atmospheric, break-toughened riddim and reaching back in time to drop kaleidoscopic, stream-of-consciousness impressions of the Ultramagnetic MCs infamous 1989 tour, before flashing forward to the present in order to namecheck Honest Jons Records, saxophone star Nubiya Garcia and master keyboardist and broken beat pioneer Kaidi Tatham, who contributes trademark jazz keys and bruk steez to the AA side remix. The 12” is closed out by a third version, the Horsemen’s own Kool Jazz Mix, bringing see- sawing organ stabs and a neck-snapping Ultra-sampling hook.

Kool Keith, Kaidi Tatham and We Are The Horsemen, taking it higher and overcoming the pressure with ‘music so progressive’, to quote Keith himself! Limited press – don’t sleep on this one!!

Circles is the sixth and final studio album by Mac Miller. Conceived as a sister album to 2018's full length Swimming, the album was completed with the assistance of Jon Brion, with whom Miller worked on Swimming and had been working together on Circles at the time of his passing. While sonically distinctly different than its predecessor, Circles features many of the hallmarks for which Swimming was critically-acclaimed upon its release -- Miller further realizing his singing voice in addition to rapping, live instrumentation and earnest, confessional lyrical content. Listeners will hear shades of some of the album's influences in its songs, from the T-Rex guitar tone of "Surf" to the Plastic Ono Band-era John Lennon feel of its production and the inspired cover of Arthur Lee's 1972 single "Everybody's Gotta Live." It's a momentous final entry into the discography of an artist that remains at the centre of reimagining the limits of rap.

Reissue of one of the Ultimate Soukous banger !

Originally recorded in 1992 in Paris , « Eki Bis « is a party classic. The chorus « 100 % 100% » became a common expression all over the world helped by the hypnotic guitars of the maestros Diblo Dibala and Rigo Star and a smashing uptempo electro acoustic drum beat.

Le Cobra de Sundama is a famous singer from Kinshasa (Democratic Republic of Congo ) who composed more than 12 albums backed by great band such as Empire Bakuba , and was considered as The voice like Kofi Olomide or Papa Wemba mixing lingala and French street expressions.

After many concerts and tours allover the continent , he finally settled in Angola . The B side features a Dj / radio edit with the addition of few electro synths . Produced in Paris by the great producer Jacky Toto and now officially licensed.

Remastered by The Carvery and pressed on limited 500 Deluxe vinyl copies

Toronto-based Soul/R&B artist Aphrose is back and ready to release her soulful,long-anticipated single, "Good Love" from her upcoming 7" vinyl release on LRK Records.

A dreamy, evocative slow jam that is sure to make you feel like you've been transported back to the heyday of the 70s, "Good Love" features Aphrose's undeniable vocal prowess supported by layers of bass, drums, string synths,percussion, and luxurious vocal harmonies.Drawing inspiration from the late Teddy Pendergrass, early MJ, and the sounds of the 70s Soul era, Aphrose and her production team SafeSpaceship Music (Scott McCannell, Chino DeVilla & Ben Macdonald) crafted this deep-cut soul classic that drenches you in lush vocals and string synths, met by undulating bass and drum sounds.Aphrose was inspired to write about experiencing that "good love" that surpasses all barriers, even theself-sabotaging ones we put up to protect ourselves. "Good Love" also features Kyla Charter-one of Toronto's most brilliant artists- on background vocals,as well as Ben Macdonald on tenor saxophone, which is the cherry on top.

Yaya to be announced soon..

Releases July 7, 2023
Currently in the UK soul chart at number 14

Got to number one on The Grenada Soul Chart

Played on all the soul stations , starpoint radio, solar radio, misoul etc Played on national Italian Radio Capital by Massimo OldaniNational Spanish radio show "Como Lo Oyes" on Radio 3,

"Sounds So beautiful" blog featured "Good Love" by Aphrose on the front page

PREMIERED in "Canadian Beats"

Spun on cbc on afterdark by Odario Williams

Third in a trilogy of LPs of Library Music miniatures from composer and multi-instrumentalist Daniel O’Sullivan (Æthenor, Ulver, This is Not This Heat, etc) following 2020’s Electric Māyā and 2021’s Fourth Density. For heads, the term “Library Music” in 2021 might evoke dodgy Italian gray market LPs and crate diggers hunting for “funky breaks” - but London’s venerable KPM Music is working with groundbreakers like Daniel to open up new avenues for composers to experiment. The 15 tracks on “The Physic Garden” are fully-formed and orchestrated compositions, which would be highlights on anyone’s LP, never mind as incidental music. Of the music, Dan says: “The Physic Garden is an album of diverse instrumentals inspired by a swathe of verdant vistas from manicured gardens and follies to urban common land, overgrown and forgotten. Convalescent memories in the shape of psychedelic auditory botanics.”

Key tracks include the droning acoustic folk of the title song; the Canterbury-esque rolling horn and woodwind melody of “Return the Heart” (with expert drum kit from Frank Byng); The prog-ish odd meter interlude “Buttercup Tea”; The quiet ambience and delicate melody of “Dusty Feather:”; and the Eno-like drift of “Vapourer Larvae.”

“Library music. Akasha. Here you accept that music behaves like a thing to accentuate another thing, seemingly unrelated. A beautiful, shining blankness. Not passive. An opportunity to wade. A brief encounter with an open-ended destiny. As in, you never know who or what it will be partnered with. With library music the emphasis tends to be on functionality and less on sonic self-portraiture. So it compels you to be concise, like what is the function of this work? The distance is liberating. It’s less “What Am I? and more “What Is This?”. It compels you to be brief, each little cell is a world of its own in an assemblage of miniatures all vibrating in their collective identity. Then there is the occult nature of library music which is fetishized by many for its ability to induce time travel, often to send us back to some televisual memory. However, despite its broad-brush strokes, the library can be so profoundly alien, especially when experienced independently of the televisual realm; an unruly chimera of genre mutations, compositional curiosities and the deepest wallpaper you ever laid ears on. Perhaps the observances of library music can help unshackle us from our artistic insecurities and delusions, where one is drawn to the shape of music as a whole instrument unto itself; as a vehicle carrying our intention and consisting of everything we have to give at that moment; so things that are seemingly unrelated are ultimately connected.” – Daniel O’Sullivan

Born of a thousand nights lost in a surrender to stillness and contemplation, In The Air is Anna St. Louis’ second full length album and her most considered work yet. St. Louis’ debut If Only There Was a River seemed to emerge fully formed out of the recesses of her mind; a gritty, mesmerizing affair, filled with jagged edges and ghostly apparitions. The type of record that announces a new voice; one haunted by what has come before.

But this time, St. Louis is no longer concerned with what could have been and sets her sights to exploring what could be. It’s an outlook on the world that was formed when her immediate one was small. The intervening years since her last album found St. Louis in a small one-bedroom cabin in the middle of the woods of upstate New York with a new love and time to think of what she wanted to express with her music. For weeks on end, the only trips she took were to and from her job as the front desk clerk at a nearby hotel. The previous years she had spent on tour and performing constantly in the venues of Los Angeles felt like they had occurred in another lifetime.

“It really compelled me to surrender to the unknown,” she says. And in this surrender, she found liberation. St. Louis is more self-assured, open-hearted and ready to say what she wants. St. Louis describes the writing period as one of a slow harvest; a fertile time but one that required a newfound patience. Instead of documenting her first thoughts, she spent more time with each song, going deeper with the themes and ideas she wanted to express.

This slower approach also guided the sonic textures of the album. Working with producer Jarvis Taveniere (Purple Mountains, Woods) in two extended recording sessions in Los Angeles in 2021, St. Louis used the studio in a previously unexplored way, opening up her songs to more experimentation featuring brighter tones and a more orchestral sound to accompany her new perspective. To that end, she was aided by a cast of friends and collaborators including Jess Williamson, Kacey Johansing, Oliver Hill (Kevin Morby, Vagabon) on strings, Alex Fischel (Spoon) on piano, Josh Adams on drums (Bedouine, Tim Heidecker) and Keven Lareau (Cut Worms, Hand Habits).

In the Air has the sound of a joyous consideration of the present moment; a quiet morning revealing a new snowfall outside, steam coming from the kettle, just before it whistles, St. Louis with her guitar, staring out the window, with a few free hours before work. She’s reflecting on the scene in front of her, imagining the times yet to come. You can hear it; she’s a long way from the noisy bars of Los Angeles, the rigors of the road. As she intones in “Rest”: “You spend your whole life believing in the chase. And then you realize that being somewhere doesn’t matter like it used to.” She doesn’t need a river to carry her anymore ... She’s in the air.

Five years after the release of their last studio album, legendary UK musical institution, Soft Machine, return with a brand new CD/LP,

Other Doors. Boasting new material and two numbers drawn from their extensive historical repertoire, Other Doors finds the band on their usual fiery form.

Featuring John Etheridge (guitars), Theo Travis, (saxes, flutes, Fender Rhodes piano, electronics), Fred Thelonious Baker (Fretless bass),

John Marshall (drums), Other Doors also features two guest appearances from long-serving bassist Roy Babbington, who retired from the band in 2021.

Other Doors was recorded at Temple Music Studios, a facility owned by the late Jon Hiseman during July and August 2022.

It’s a location of which the band is particularly fond, explains John Etheridge. “Working at Jon Hiseman’s studio was special,

especially with Ru Lemer who is a brilliant engineer. He’s fantastically quick and that’s very good as we record mainly live in the studio. It’s come out really well and I think it sounds great.”

On Other Doors they’ve revisited the very first album, originally released in 1968, to include Kevin Ayers ‘Joy Of A Toy. Fred Baker, makes his studio debut with Soft Machine.

A well-known figure on the Canterbury Scene not only is he the perfect choice for the group but he’s also is a long-term fan of the repertoire.

“The way I look at it is that this is all great music which we’re continuing to preserve and keep alive as we play it but also we’re adding to it all the time,” he explains.

The idea for revisiting the number was Theo Travis’ he says and has been part of the band’s live setlist for a while.

The album also contains Penny Hitch, a track originally heard on 1973’s Soft Machine Seven.



If the album ushers in a new member in the shape of Fred Baker, it also acts as a fond farewell to drummer John Marshall, who joined Soft Machine midway through the recording of 1972’s Fifth.

At the age of 81 Marshall has decided to retire making Other Doors his final studio album with the group. “I’ve known John since 1975 when I first joined Soft Machine and of course,

we’ve worked through the years together intermittently ever since. His drumming always meant a lot to me,” says Etheridge.

“We worked over three days in the studio and John played great. It sounds terrific.”

Indeed, Marshall is on whip-cracking form throughout the album bringing his trademark musicality and decisive presence.

With Other Doors, he brings his distinguished career to a rousing conclusion.

Intense, celebratory, and consistently impressive. Other Doors is the sound of a group determined to press forwards with an

integrity and sense of purpose that’s quintessentially and definitively Soft Machine.

Whitelands follow their acclaimed single ‘Setting Sun’ – which saw the London-based band added to the BBC Radio 6 Music playlist – with their first ever vinyl release, an EP of reworkings, which is released as a limited edition orange vinyl 10” on June 23.Simply titled Remixes, the EP features two reworkings of ‘Setting Sun’ by dreampop legends A.R. Kane – the short Initiation Dub and the epic Hero Remix, which comes in three parts, titled Departure, Initiation and Return and takes the song to some unexpected and exciting new places.“Whitelands came up in conversation three times in a week,” explains A.R. Kane’s Rudy Tambala of how he got to know the band and came to remix them. “Two times is coincidence, three times is a conspiracy, so I reached out to them on social media, and we started chatting. They’re cool, like baby Kanes. ‘Setting Sun’ was close to my heart, reminding me of ‘Fools Gold’ meets Slowdive versus Frank Ocean. Anyway, I heard several approaches in my head, so I thought, ‘Fuck it, let’s do ’em all’. “I knew I wanted to take a prog approach: Marvin Gaye’s What’s Going On, Pink Floyd’s The Dark Side Of The Moon, Sasha’s Involver2, Coltrane’s A Love Supreme, Frank Ocean’s Blond, etc. Even my own sixty nine. It’s that seamless drift from one part into the next, stretching the idea until it ruptures, creating space for a new way of perceiving; this has the first inklings of hive mind, telepathy, in a musical form; you dissolve into it as it dissolves into you. A fundamental dreampop construction and aim, whereby subject and object become one. Ahem. “As the extended mix took shape it suggested to me the three components of The Hero’s Journey, hence the titles. The three-minute pop song was determined by the technical limitations of the 7” vinyl single. Digital has obliterated that. The perfect dreampop song has no time limit. ‘Setting Sun’ A.R. Kane Hero Remix is timely.” Alongside Rudy’s reworkings is an equally dazzling drum’n’bass take on last year’s single ‘How It Feels’ by the band’s guitarist Michael in his howdogirlssleep guise.

Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry.

The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.
Cable Ties are dedicated to their local community and independent networks, and to playing diverse and inclusive shows. They have toured Australia a number of times and have developed into a lean and efficient touring band who deliver powerful and meaningful shows. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. They have also self released three 7” singles which have all sold out. The debut album is on its third vinyl pressing.

The band toured UK/Europe in 2017 supporting Jen Cloher, and played Punk’d Festival in Berlin. They returned to the UK in May 2019 to play The Great Escape and shows with Tropical Fuck Storm and Amyl & the Sniffers. In Australia they played Bigsound 2018 and festivals such as the national Laneway Festival tour in 2018, Boogie Festival 2018, The Plot 2017, and Meredith Music Festival in 2016. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.

Salt Peter, by Ruby (AKA Lesley Rankine), was originally released in 1995 to critical acclaim under the trip-hop and electronica tags,

quickly becoming the soundtrack to many a student, clubber and vinyl junkie’s life.



Roll on 25 years to find Rankine & her brother, Scott Firth (bassist with PIL) in Covid lockdown together following the death of their mother. What else would they do but make some music?



So, while noodling around with some ideas one night, Rankine remade one of her old Salt Peter songs and was so pleased with the result she decided to do the whole album.



Rather than simply remixing or remastering the original album she decided to rebuild it from the ground up with completely new production, arrangements and vocals.

With Scott’s additional production, engineering and mixing, Salt Peter 25 is a completely different album from the original, but still with Rankine’s distinctive vocals

and her ear for the quirky and the dark. With densely textured sounds and uncompromising arrangements, Salt Peter has matured into an exciting new and unique animal.



Salt Peter 25 is a deeply personal album, created during a very difficult time and so the cover, fittingly, features a striking photo of Lesley and Scotts’ mother,

as well as other family photos, again echoing the aesthetics of the original album.



Now released on delicious orange double vinyl with a beautiful gatefold sleeve, featuring additional art by Toronto based designer, Henry Faber.

The fourth release in Fu Manchu's 30th Anniversary vinyl reissue series, No One Rides For Free, is a new vinyl specific remaster of the band's debut album. These songs are the only recordings of the band's line-up of Scott Hill (vocals/guitar), Mark Abshire (bass), Eddie Glass (guitar) and Ruben Romano (drums). The 8 song collection was recorded on April 16 and 17, 1993 at Sandbox Studios in LA, produced by the band along with Brant Bjork. This reissue was remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on red vinyl with white splatter and the newly designed gatefold package includes never before seen photos of the band and flyers from the shows of the era. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster.

One of Japan’s most riveting artists follows that KAKUHAN mindmelt from last year (our number 5 album, 2022) with an engrossing suite of wild field recordings and polymetric percussion featuring a whole raft of additional players weaving drums, wind and brass instruments, cello and electronics into a bewildering Acousmatic matrix. Highly recommended listening if you’re into Marginal Consort, Beatrice Dillon, Will Guthrie, Mark Fell, François Bayle.

Having made his mark on these pages over the last few years with appearances as part of Japan’s cult entities Goat and YPY, Koshiro Hino’s turn last year as KAKUHAN took things to a whole other level with an album that felt like some alchemical mix of elements borrowed from Autechre, Photek, Arthur Russell and Mica Levi - a complete stylistic futureshock that worked as well in the club as it did fuelling extended flights of the imagination.

For 2023, Hino takes us into a completely different headspace, assembling a cast of 11 players - the mighty Joe Talia and KAKUHAN’s other half Yuki Nakagawa among them - for a suite of untamed field recordings, clanging percussion, brass and synthesis that are about as far removed from the diaristic ambient de jour as you could possibly imagine. Instead, the ensemble conjure vibrant sound ecologies teeming with detail, mirroring the natural world and communal traditions to form shapeshifting, organismic soundworlds.

‘Geist II’ was written for 20 speakers, referencing François Bayle’s acousmatic music and David Tudor’s electro-acoustic environments. It paints a richly detailed scene of a nocturnal rainforest, replete with avian hoots and a skin-crawling patina of insectoid chatter that moves around the soundfield, stealthily growing in density with a more “musical” presence of super low end drone and drums converging form the peripheries to a ritualistic climax. In the second part, focus shifts to remarkably pure percussion-like tropical rain, invaded by swarms of scuttling and winged invertebrates that give way to a water music-like polymetric slosh, resolving to ringing tones and more mellifluous gestures that hark back to GRM’s most poetic, romantic urges.

It's a deeply psychedelic experience that harmonises tiny electronic fluctuations with bird calls and scraped, resonant drones that phase in-and-out of the mix. It's sound you can practically chew, and another crucial despatch from the contemporary Japanese avant-garde.

Created In the heart of Athens, GA with their trusty- producer, Henry Barbe (Deerhunter, Drive By Truckers) You Know Who is an 11-song record that pushes the boundaries of modern country and rock n' roll music. The Pink Stones sound takes influence from recordings of George and Tammy, as well as J.J. Cale's self produced Tulsa sound. The record is also just as inspired by the windy city cuts of Curtis Mayfield, all styles that covers the band's sound in cigarette smoke and whiskey spills. The six piece band has utilized their performing chops to make a tight but soulful album with featured guests such as Nikki Lane, Jack Quiggins and Ryan Jennings (Teddy & the Rough Riders), John James Tourville (Deslondes), and Annie Leeth (Faye Webster). No strangers to friends and guests, this ramshackle unit formed together flawlessly to take the next leap into The Pink Stones deep sphere.

Bound to Be is Power POP veering from muscular rock songs to languid pop confessionals, from stunning atmospherics to raw intimacy. Corvair is a husband/wife duo from Portland, Oregon. Threading together 70’s pop, 80’s synth rock and 90’s indie rock, with influences from Berlin-era Bowie to Blondie, Lee and Nancy to the Breeders, Corvair’s evocative power pop is timeless and resonant. The duo’s second album, Bound to Be, veers from muscular rock songs to languid pop confessionals, from stunning atmospherics to raw intimacy, held together by sharp lyrics and potent imagery. Naubert and Larimer have previously recorded or performed on more than twenty albums. Larimer’s musical mainstay was the garage pop band Eux Autres, broadly hailed as a “veritable cult classic” band and radio-debuted by the late John Peel. Naubert is a longtime fixture of the Northwest rock community, having played in vital bands such as Tube Top, Pop Sickle, The Service Providers, and the critically-lauded Ruston Mire, since 1995. Bound to Be is the duo’s second album and will be released in June 2023 on Paper Walls and the cult indie pop label Where It’s At is Where You Are records out of London, UK. It features Larimer and Naubert on vocals and instruments, along with Northwest powerhouse drummer Mike Musburger (Fastbacks, The Posies).