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Acclaimed US DJ and producer Maceo Plex has announced the release of his long awaited studio album ‘Solar’. The climax to a lead up that included last year’s 7-track ‘Journey to Solar’, and 2015’s 2 track ‘Solar Sampler’, ‘Solar’ is due for release on his brand new label Lone Romantic on the 16th June.

Lone Romantic is a new electronica based label; it will focus on albums and will also open its doors to releasing more avant guard and leftfield singles.

Meanwhile, the ‘Solar’ album allows Maceo to utilise the long format to explore and expose his less explicitly club leaning and more reflective side, taking the listener on a journey through shades of electronica, techno, breakbeats, dub and more. Named after his son Solar, the album also chronicles his new found fatherhood; “the ups and downs in the first few years and its effects on life, marriage and more”.

There’s still dancefloor suitable music within the album; opener ‘Sparks of Light’’s propulsive drums make for an attention grabbing first track, just as the driving 4/4 bassline of closing track ‘The Tesseract’ is a memorable climax. ’Polygon Pulse’ also features the hefty low end that Maceo has become known for, yet underneath breakbeat style drums and sighing vocal snippets.

Vocals are a prominent defining feature of ‘Solar’ that mark it out as a departure towards more of a home listening, experimental album. ‘Indigo’ marries Maceo’s characteristic signature sounds with a slower tempo and gritty male vocals for a stirring, downbeat piece of indie electronica, whilst following track ‘Separation’s breathy vocals and subtle DnB cymbals feel more relaxed.

‘Kepler’s Journey’ marks a stylistic break midway through the album, before the vocoded vocals of ‘Solar Wind’ and ‘Wash Away My Tears’ (the 12” mix of which was included in the Solar Sampler) bring to mind a forward thinking, indie take on French touch. Elsewhere, the lilting, dub techno influenced ‘Swan Dive’ sees this effect take on a more eery, thoughtful tone.

The release of ‘Solar’ sees Maceo Plex enter a new, more developed chapter of his long career - taking the sounds that have made him so popular and building upon them to push himself forward artistically, the album is a very personal use of the long format and an education in the producer’s musical influences.

Following the critical acclaim of the 2020 compilation Pyramid Pieces, The Roundtable return with a second offering of modernist jazz from Australia. Another vital document further examining the nation's jazz scene during the late 1960s and 70s. A fertile period that witnessed the birth of an independent movement and the development of a distinct Australian jazz sound. While continuing to focus on the modal forms explored in Volume 1, this second edition shifts direction slightly, this time also surveying other post-bop modes representative of the scene including soul jazz, avant-garde ballet music and Eric Dolphy-inspired free jazz.

Again featuring tracks from the esteemed independent imprints Jazznote and 44 Records, the collection also offers never before published pieces from less obvious Australian jazz groups. Compositions by internationally renowned musicians including Bob Bertles (Nucleus/Neil Ardley), Bruce Cale (The Spontaneous Music Ensemble/Prince Lasha) and Allan Zavod (Frank Zappa) alongside pillars of the local scene, Charlie Munro and Ted Vining plus the lesser-known yet formidable free jazz unit 'Out To Lunch'. Pyramid Pieces 2 is another timely insight into the evolution of the incredible yet obscured Australian modern jazz movement.

A compilation of Australian modern jazz. 1969-1980
Rare modal, soul-jazz and free jazz from artists including The Charlie Munro Trio, Bob Bertles Moontrane, The Bruce Cale Quintet and The Ted Vining Trio.
Tip-on sleeve featuring artwork from renowned Australian modernist painter James Meldrum.

Freestyle Records in association with Rare Sounds USA present a stellar repress of Speedometer's 2003 debut LP This Is Speedometer.

Originally released on Clive Johnson's Blow It Hard (started after the demise of the well-loved weekly Soho club night of the same name, and home to the New Mastersounds first releases alongside choice cuts from JTQ and others) This Is Speedometer showcased the sounds of one of the UK's premier acts in the deep funk scene of the early noughties for the first time on the long player format.

Starting out back in 1999, Speedometer started out as an instrumental quartet gigging in small clubs in the Southeast of England, paying homage to classic funk tunes by artists such as The Meters and The JB's. The band soon expanded and began writing original material, adding the highly regarded horn section and vocalists in 2001, which enabled them to deliver the powerhouse deep funk sound on display here. In addition to their own albums, singles and live shows, Speedometer have backed many US funk & soul legends including Sir Joe Quarterman, Eddie Bo, Marva Whitney, Sharon Jones & Lee Fields and more.

Now coming up on 20 years since it's original release, you can now marvel at Speedometer's classic, original soul-funk sound thanks to a sparkling new cut. Dig in!




d 04: Just Keep On (Doin the Do) feat. The Speedettes

Ajak Kwai is a name well known to the airwaves, stage, and broader Australian music community for her powerful performances and strong messages that call for inclusion and celebration of the diversity found throughout Australian society. Originally hailing from a small town of Bor (pronounced ‘bohr’) on the Upper Nile in what is now South Sudan, music has always been part of her life.

Alongside sharing political messages through her music, Ajak Kwai is also a radio broadcaster in Melbourne on both PBS and 3CR. Her shows give a voice to the local African community so that they can tell their stories through music and spoken word, and her music selections focus on songs that have changed the world in a positive way. She challenges bias in our society and reminds politicians to be accountable for their language and actions.

Performing in English, Arabic, and her native language, Dinka, Ajak Kwai’s music draws upon South Sudanese funk and blues influences and brings together elements of traditional music alongside more contemporary gestures. The result is something notably unique and powerful.

Ajak Kwai is joined by a band of exceptional standards, including musicians Matthew Erickson, Kanyakumar Shome (Silent Jay, REMI, The Bamboos, Cat Empire, Sampa the Great), Kofi Kunkpe, Maria Moles (Jaala, Jonnine (HTRK), Mildlife), Gabriela Georges and guests Boubacar Gaye (Ausecuma Beats) and Allysha Joy (30/70).

Ajak Kwai’s previous release and fifth album, ‘Let Me Grow My Wings’, was featured as RRR album of the week, feature Album on 2ser, and saw widespread support across community radio. Ajak Kwai has been an ambassador of the Melbourne International Arts Festival for three years and her sets have been highlights at festivals including WOMADelaide, Bluesfest, Brunswick Music Festival, A Festival Called Panama, Dark Mofo, Port Fairy Folk Festival and Woodford Folk Festival.

When Berus debuted in January 2021 on Kommerz Records with his “Voyage EP”, he had no idea how precise the title would be for the coming months. A little over a year before the release of “Voyage” the Berlin based multi-instrumentalist and producer had taken his focus away from his, more than a decade lasting, house and techno career towards a new sound, inspired from neo soul and hip-hop. Whilst his electronic projects found home on Kerri Chandler's Madhouse Recordings and DVS1’s infamous Mistress and gained his moniker Frag Maddin worldwide attention, it was part of his progress to focus on himself and Berus, his real name. He took this step not knowing it would lead him into a dark journey of self revelation, identity finding and for the foremost new hope: blue hope.
Berus was born to a Zaza family in Kurdistan, which eventually migrated to Germany escaping prosecution and discrimination of the nationalist regime in Turkey. The family settled in Hamburg and Berus grew up to be a New Release Information
musician. He played the drums, formed teen punk bands and started producing at an early age experimenting and shaping his future as an artist.
Since the beginning of his career Berus releases can be seen like a diary, always expressing his very personal state at the time. For the work on “Blue Hope” two main topics fall into the production of the album: love relationships and seeking identity.
There is a blue melancholy and reflection leading through the album. On “Talk to Me (Karþýlýklý)” Berus opens up about his feelings of true love and the need to set free when they are not answered. Whilst the incredible Mulay who is featured on “Holy Waters” answers with her female perspective. And there is hope. The hope (“Dream On”) and fears (“Being Alive” feat. Sedric Perry) of a young migrant generation. “Blue Hope'' is a coming of age story that’s relatable and yet unique, honest but vulnerable and for the foremost: 100% Berus.
The album is a neatly curated mixtape and delivers a wide range of styles like the jiggy sounding Mike Nasa on “On Me” all the way to “Wholesome” on which Barne delivers a John Mayer-esque performance.
On “Blue Hope” Berus gathered a mixture of old friends and new talent around him to produce the record. The outcome is an LP referencing different influences without the use of any samples.

Salute to the Sun: Live at Halleì St Peter's documents a very special concert recorded at the iconic Manchester venue during lockdown.

Released in November 2020, Matthew's Halsall's Salute to the Sun was the trumpeter's first album since 2015's Into Forever, and marked the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians. The album drew it's energy from the band's weekly sessions and was inspired by Halsall's love of nature. Lush and spiritual it received universal praise, but Halsall and his band were frustrated that they were unable to share their beautiful new sound live with an audience.



On November 25th 2020, Halsall took his band into the iconic Manchester venue, Hallé St Peter's, for a concert recording in aid of the charity Mind, that was streamed on January 21st 2021 to a global audience in the thousands. The concert was also recorded for posterity.



"When we recorded Salute to the Sun, I wanted to create something playful but also quite earthy and organic that connected to the sounds in nature. It seemed to strike a chord with people and I was blown away by the response to the album. Our concert film, recorded at the height of last winter's lockdown was a special moment for us all and I feel that the concert recording captured something beautiful that we wanted to share".



Salute to the Sun: Live at Halleì St Peter's features Matthew Halsall– trumpet, Matt Cliffe- flute & saxophone, Maddie Herbert– harp, Gavin Barras– bass, Liviu Gheorghe– piano, Alan Taylor– drums and Jack McCarthy- percussion



The recording has been mixed by Matthew Halsall and George Atkins at 80 Hertz and is mastered by Peter Beckmann at Technology Works. The vinyl was cut at Calyx in Berlin and the album is pressed at Optimal in Germany. It is presented in the form of a limited edition 2LP set with artwork by legendary designer Ian Anderson of The Designers Republic.



Spread over three sides of the vinyl LP for maximum fidelity the fourth side of the LP (side D) features an etching of Daniel Halsall's now iconic artwork for the album Salute to the Sun and copies are strictly limited with just 3000 available in total. The album will also be available for download and on streaming platforms.

"Emotional Response celebrates its 50th release with a special limited-edition from label stalwart Roy Of The Ravers. Following 2019’s magnum opus White Sunrise II is the accompanying “Soliel”, where our nom dee plume delves further into his archives of recently rediscovered disks to present an 8-track double pack, cut loud for DJ play.

The music too is more expansive, with the ambient and techno signatures matched with touches of jazz keys, Balearic sampledelica and even acoustic outtakes, all with that Ravers humour included.

The opening cinematic symphonies of The Smell Of Orange Peel and Kliszewicz Klopcic Klim highlight again a side not seen on his more acid / club cuts found on various labels. However, it’s the B side that compounds expectations with the deep house meets techno melodics of City Limits, before the ever-expanding feel-good vibrations of center piece Feathers hooks all. Sometimes a simple groove and catchy vocal sample is all you need to create a classic.

The second half then glides with 14 minutes of house dramatics via Versace 101624, a master of arrangement and beats, preempting the interlude of Clock House’s return. To close, EL-9400’s intense scatter percussion melds with anthemic acid undertones before its 2nd half melts to a choral ambience, leading to the closing acoustic jam dub curiosity My Brother And His Mate and the curtain for another stage in the Roy sagas. "

Auntie Flo returns to Highlife! Paying homage to a time well spent in Korea. Delicate and atmospheric sound design from the DMZ. With thanks to our pal Akimbo for granting permission to feature the chuggy remix of High Flight.

Hot on the heels of their landmark remix of ‘Lost My Love’ by Kenny Cox, DJ Amir and Re.decay return to BBE Music with a rework of Maulawi’s ‘Street Rap’, plus a new version of Fito Foster’s ‘Salsa’ by DJ Dez (aka Andrés) featuring Amp Fiddler. Originally issued as the opening track on Maulawi’s self-titled 1974 album by Detroit’s Strata Records, ‘Street Rap’ is a slept-on jazz/funk classic. As part of his role as curator and archivist of the Strata catalogue, DJ Amir discovered the original stems for the track and was happy to discover they had survived the years well. “I thought we could really do something different with this song” say Amir. “Like making it more of a mid-tempo ‘four to the floor’ groover. Also, I wanted us to play with the original vocals a bit for the updated version. This is by far our favourite remix!” Previously serving as DJ for Slum Village and releasing on Moodymann’s Mahogani Music simply as Andrés, DJ Dez Andrez is part of the fabric of Detroit’s unique and eclectic music scene. But few people know that Dez’s father is Cuban music hero Humberto “Nengue” Hernandez, a highly respected percussionist and vocalist who starred in the 1988 motion picture ‘Salsa’. “So I reached out to Dez because I knew his father sang and played on the Fito Foster song “Salsa’” says Amir. “I have had the stems of the song since the beginning of my license deal with Strata. I thought it would be a great homage to have Dez remix his father’s music. Plus, Dez was definitely excited to do so!” For his remix, Dez called upon Detroit legend Amp Fiddler to play additional keys and piano on the remix, while Dez also added additional percussion to compliment his father’s, like a time-travelling jam session going back almost 50 years. Staying true to his Cuban roots, Dez’s remix brings a contemporary twist to this timeless track.

Digital Afrika return to the fray with this incredible EP for ASW. Featuring the original Gnawa plus it’s acoustic source recording as performed by Radouan Naim in Morocco PLUS two truly excellent remixes from the legendary Jose Marquez and Melbourne’s own TEYMORI (Amin Payne).

The original source recording for this track was laid down in Planet Essaouira and recorded by Zhonu “Nui” Moon (Digital Afrika ) on one of his many cultural trips to his ancestral home land. The studio is situated on the Moroccan coastal town of Essaouira , a cultural hub for the Berber (indigenous Moroccan) traditions.

This enigmatic town , popularised by the beatniks and bohemians of the 60ʼs, most famously by Jimi Hendrix and The Rolling Stones , has a mystique all its own as well as a long musical history.

“Gnawa” in Berber language literally translates as “Trance“ music , and is traditionally performed in “Lilas” musical ceremonies accompanied by dance that can go on for days .. where the purpose is to produce trance-like states of being where different types of healing or catharsis can occur ..

The recording was then brought back to Melbourne, Australia. Where the Digital Africa team applied its electronic Afro-house touches , while keeping true to its original North African aesthetic.

‘.dev’ was yet another collaborative piece from Agoria, aka Sebastien Devaud. As well as Blasé and STS, who returned after featuring on ‘Drift’, Devaud worked with Domino’s Ela Minus, flamenco innovator Niño De Elche, and the unique hip hop delivery of Rome Fortune across the LP, with additional collaborators including Sacha Rudy and Oscar winner (The Sound of Metal), Nicolas Becker.



Sonically, the LP saw Agoria presenting a kaleidoscopic haze of cinematic and evolving electronica that touched on house, techno, electro, hip hop, and beyond but beneath the aesthetics, ‘.dev’ was the work of an artist asking himself questions in order to create worlds out of his answers.



Beyond looking to question the very systems of the traditional album format, his holistic approach to AI and NFT’s within the thematic world of his work were laid out front and centre through the visual and conceptual identity surrounding the album.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

Rita Ekwere, better known under her stage name of Ray BLK, is a British singer and songwriter who was born in Nigeria, and grew up in Catford in London. She won the BBC's Sound of 2017, and was the first unsigned artist to do so! Written and recorded over the past two years in London and LA, the long-awaited debut album ‘Access Denied’ has arrived. The new album features some of Ray's most critically acclaimed work to date including 'MIA' ft. Kaash Paige and 'Games' ft. Giggs, alongside the deeply impactful Dark Skinned and Mine. This is Ray BLK at her finest - unfiltered and unapologetic, this is Access Denied.

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





d 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





[d] 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

"On May 15th 2021 Paul Weller performed an exceptional concert with the hugely talented BBC Symphony Orchestra and award winning arranger Jules Buckley.

This extraordinary performance was a first for Paul, performing with a full orchestra, and saw a quintessential selection of his vast catalogue exquisitely reworked and updated into 75 minutes of breath-taking music that was broadcast across the BBC.

Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. A musical outlier, the band pioneered a union of thrashed-out European guitar pyrotechnics, East Coast hardcore spirit, on-stage hijinks, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow, but they also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014, respectively, and gold certifications for The End of Heartache (2004) and As Daylight Days (2006). The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage (2009), Disarm The Descent (2013), and their career high best bow at #6 with Incarnate (2016). The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date. Along the way, the boys have shared stages with some of the biggest acts in the world and have sold out countless headline gigs in six continents across the globe.
In 2019 the quintet—Adam Dutkiewicz (lead guitar), Joel Stroetzel (rhythm guitar), Mike D’Antonio (bass), Justin Foley (drums), and Jesse Leach (vocals)—sharpened every side of this signature sound on their eighth full-length and first for Metal Blade, Atonement. The vision they shared two decades ago crystallizes like never before as evidenced by the first single “Unleashed,” “The Signal Fire” (feat. Howard Jones), “Crownless King” (feat. Chuck Billy), and “I Am Broken Too.”

**LIMITED BLACK VINYL** Rival Consoles returns with a resonant
and explorative soundscape of original
music, composed for renowned
choreographer Alexander Whitley’s
contemporary dance production
Overflow.

Exploring themes of the human and emotional
consequences of life surrounded by data, the piece
echoes the concept of social media, advertising,
marketing companies and political factions
exploiting our data to gain wealth, political
advantage and sow division. Key reading for the
project was based around the contemporary
philosophical work Psychopolitics: Neoliberalism
and New Technologies of Power by Byung-Chul
Han.
“The piece opens with Monster which has a kind of
drunken madness to it, highly repetitive to mirror the
repetitive nature of how we as humans engage with
technology such as social media. It’s sometimes
edging towards chaos but yet always returning back
to the same starting point, but eventually giving way
to exhaustion. I wanted to create a bold opening
piece for Overflow,” states West.

I Like features the mapping of data from dancer Tia
Hockey’s personal monologue, which allows chords
to be heard - but only based on the activity of her
voice, drawing attention to things happening behind
the curtain, invisible systems, algorithms.
The album also features the previously released
standalone slice of euphoria, Pulses of Information
— described by UK mag Clash as “typically
entrancing, Pulses of Information seems to
encourage a form of internal dialogue, between our
inner and outer selves.”

Overflow was premiered by the Alexander Whitley
Dance Company in May 2021 at the Sadler’s Wells
in London and is scheduled to tour through theatres
in Europe in spring 2022. The score will be released
by Erased Tapes on limited edition vinyl and CD as
well as digital formats on December 3.

white vinyl

Tommy Farrow has been making waves ever since his breakout single, 'Let's Just', caught the eye of Radio 1 tastemakers. His emotive, trancelike tracks, evoking influences like Bicep, have been instant hits. Joining the Classic Cuts series, Forever EP is his debut on Shall Not Fade.

'Forever' features rising star vocalist Clementine Douglas, her sultry lines coasting over melancholy chords before casting off into high drama breaks and synth melodies. Breakbeat dominates 'Feel What I'm Feeling' too, a big room track filled with pure ecstasy; closing track 'Imagination' is deep and grooving with an explosive electro edge.

Forever EP drops 10th December via Shall Not Fade.

NOW Music is delighted to introduce our new sub-brand ‘NOW Presents…’. This new series starts with ‘NOW Presents… The 1970s’, the first-ever NOW vinyl boxset featuring 5 LPs uniquely designed to reflect the era.

The boxset is a musical time capsule of the decade that saw so many different genres find chart success. Across its 74 tracks over 10 sides of vinyl, the massive hits sit alongside enduring classics from each year. The set not only includes 5 beautifully designed front covers on the individual albums (that slot into a rigid slip case), but also features track by track annotations with chart positions and facts about the artists and songs.

Each year, 1970-1979 is presented as 1 side of each LP… Kicking off with the iconic ‘Bridge Over Troubled Water’ by Simon & Garfunkel from the biggest selling album of the year, and of the decade. 1970 also includes Motown classics from Stevie Wonder, Smokey Robinson & The Miracles, and the debut hit ‘I Want You Back’ from the Jackson 5.

1971 includes the seminal ‘What’s Going On’ from Marvin Gaye, alongside Elton John’s breakthrough – the timeless ‘Your Song’, Rod Stewart’s breakthrough ‘Maggie May’, and The Who’s defining rock anthem ‘Baba O’Riley’.

The charts in 1972 began to reflect the popularity of ‘Glam Rock’ – and ‘Virginia Plain’ by Roxy Music, and ‘Metal Guru’ by T. Rex are included, as is the David Bowie-produced ‘Perfect Day’ from Lou Reed.

‘Killing Me Softly With His Song’ – one of the most beautiful songs, and vocals ever from Roberta Flack opens 1973’s side – and is joined by, amongst others, Billy Joel’s signature song ‘Piano Man’ and Bob Dylan’s ‘Knockin’ On Heaven’s Door’.

1974 celebrates Queen having their first Top 5 single with ‘Killer Queen’, and title tracks from two of the decades’ biggest selling albums: Paul McCartney & Wings with ‘Band On The Run’, and ‘Tubular Bells’ from Mike Oldfield.

John Lennon released ‘Imagine’ in 1971 – but it became a UK hit in 1975, and so, starts this side… and finds space for some of the year’s perfect pop from Steve Harley & Cockney Rebel, David Essex, 10cc, and the biggest hit ‘Bye Bye Baby’ from Bay City Rollers, at the peak of their popularity.

ABBA enjoyed 7 UK Number 1’s in the 1970s, and their biggest was the enduringly popular ‘Dancing Queen’ which leads into 1976. Electric Light Orchestra had a huge hit with ‘Livin’ Thing’, as did Thin Lizzy with ‘The Boys Are Back In Town’ – plus Joan Armatrading emerged with ‘Love And Affection’.

1977 saw Fleetwood Mac release their mega-selling album ‘Rumours’, and from it ‘Don’t Stop’ is here, as is Donna Summer’s ‘I Feel Love’ – one of the most influential dance tracks of all time – and one of 1977’s favourite TV stars, David Soul, enjoyed a #1 single with ‘Don’t Give Up On Us’.

With ‘Wuthering Heights’, Kate Bush not only had 4 weeks at number 1 in 1978, but became the first female artist to achieve this with a self-written song. The Jam, The Boomtown Rats and Siouxsie And The Banshees all found consistent success as Punk & New Wave established new chart stars.

1979 concludes the set and opens with the iconic ‘London Calling’ from The Clash, and includes two of the biggest bands of the era, The Police and Blondie. A couple of years later the first video played on MTV would be ‘Video Killed The Radio Star’ from The Buggles – and it’s fitting that this is the final track on the collection, a #1 in late 1979 – it signposted the synth-pop wave that would define the early 80s…. (but that’s a different box set).

Blood On Satan’s Claw – AKA Satan’s Skin in the USA, is a cult British horror movie from 1971. It’s a film from the golden age of British horror, and one that ticks most of the horror connoisseur’s boxes - it stars the Devil, Olde England, it has nudity, strange ritualism, a fair smattering of blood and of course, sublime music. Produced by cult masters Tigon, this film was the perfect companion piece to their earlier Witchfinder General (1968). Set in rural 17th century England, it tells the fine story of a small village that quickly falls under the devil’s spell. It’s brilliantly told and quite beautifully shot with a very fine cast of superb character actors.
Over many years the film has slowly gained a cultish reputation, and there are rumours that good old Tim Burton is a very big fan and used the movie as an influence for his “Sleepy Hollow” production.
The score was never released. Written by Marc Wilkinson, former director of music for the National Theatre, this cult soundtrack takes its lead from “The Devil’s Interval”, but more about that in the next paragraph. Musical appearances from the Ondes Martenot (the earliest electronic instrument) and Cimbalom add to the overall spookiness of this recording. And in 38 years the music has lost none of its depth or addictive, evil hooks. The first pressing sold out many years ago and commands high prices. A repress has been requested for many years.
Here’s Marc Wilkinson’s thoughts…
“The descending chromatic scale which features throughout the music omits the perfect fifth (the only true consonant in the chromatic scale) and therefore highlights the diminished fifth, which ever since the middle ages in Europe has been known as the Devil's Interval!!”
BRIEF ARTIST INFO: Marc Wilkinson was musical director of the National Theatre throughout the 1960s. He scored a number of films in the late 1960s and 1970s including “If” for Lindsay Anderson. Wilkinson currently lives in France.

Black Truffle is pleased to announce Live Hubris, documenting the hypnotic and electrifying live performance of Oren Ambarchi’s 2016 LP Hubris by a fifteen-strong band at London’s Café Oto. Over three days in May 2019, Oto toasted Oren Ambarchi at 50/Black Truffle at 10 with Ambarchi and a large group of close friends and collaborators in a series of performances that interspersed existing projects with new collective endeavours, culminating with this: fourteen members of the extended Black Truffle family together on stage, joined by one special virtual guest, to translate the intricately studio-constructed layers of Hubris into a muscular live band workout.

Operating with only the bare minimum of pre-gig preparation after the planned afternoon rehearsal had to be wrapped up prematurely due to noise complaints, the gargantuan group lurches into motion with a 21-minute rendition of ‘Hubris Part 1’, powered by the pulsating electronics of Konrad Sprenger (the ‘ringmaster’ at the ensemble’s core) and no less than seven electric guitars spinning a web of intricately interlocking palm-muted polyrhythms. The layers of closely related but metrically distinct lines create ripples of shifting accents, flickering changes in emphasis that ricochet along the endless central pulse. Gradually building in density, this motorik continuum becomes the backdrop for the haunting tones of Eiko Ishibashi’s processed flute and an extended feature from long-distance guest Jim O’Rourke on guitar synth.

After the brief interlude of the second part, where Albert Marcoeur-esque guitar arpeggios accompany a halting attempt at phone conversation, the full ensemble gears up for the epic side-long rendition of ‘Hubris Part 3’. Now joined by the astonishing triple drum line-up of Joe Talia, Will Guthrie and Andreas Werliin, the layered pulse of the opening piece becomes a burning funk-fusion groove. Beginning on a medium simmer, the ensemble initially stick to its pulsating one-note mantra, over which Ambarchi unfurls a beautiful example of his signature shimmering Leslie-toned guitar harmonics, eventually joined by Ishibashi’s flute and some brooding, distorted dissonance from Julia Reidy’s guitar. Building steadily for the first nine minutes, the heat then rises dramatically with a first, gloriously loose chord change: with the all drummers now rolling and tumbling like a twice-cloned Jack DeJohnette circa 1970, Mats Gustafsson enters on baritone, his tortured roars and shrieks driving the band to peaks of insane intensity. Finally, the exhausted ensemble drops out, leaving only the jagged, skittering fuzz of Ambarchi’s guitar, brought to an abrupt conclusion at the command of crys cole. Arriving on hot pink vinyl with artwork by Lasse Marhaug and an extensive selection of live photos by Ivan Weiss and Fabio Lugaro, Live Hubris brings this ambitious and outrageous evening of music to the safety of the home stereo.

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena
and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the
depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for
what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The
result is a pointillistic knockout of a release that weaves a landscape both luscious and a
little rogue; showing us exactly what good songs can do.
 Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings
and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley
Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal
setting for the long-time friends to compile a record of handpicked country covers. They
went searching for songs that could speak to our everyday loneliness, outside and in.
‘Cuntry Covers’ houses it all: well-worn favourites and lesser-known gems.
 The record opens with ‘Green Rocky Road’, as performed by Greenwich Village legend
Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured
vocals, complete with dreamy overlay. ‘Dreaming My Dreams With You’, a rendition of the
Waylon Jennings hit, is followed by John Cale’s ‘Buffalo Ballet’, a lyrical journey through
Abilene, Texas, the endpoint of the Chisholm Trail.
 Engineered and mixed by Duncan Hay Jennings, each song brings desire and sexuality
front and centre, with all the swagger you’d expect – and more. Bria hopes the record will
be understood as a small contribution to the subversion of a genre with deep patriarchal
roots. Mistress Mary’s ‘I Don’t Wanna Love Ya Now’, from the 1969 album ‘Housewife’,
served as the original inspiration. “It was the first song Duncan and I worked on,” Bria
notes. “It definitely set the tone for the other tracks we picked.”
 Bria’s voice - described as wavering between “sultry and howitzer” - shines on ‘Fruits Of
My Labour’, written and performed by country great, Lucinda Williams. The Walker
Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ is a harmonic (and hypnotic) standout. A
musical explorer who moves fluidly between styles, Bria doesn’t consider herself a
country artist: “I feel as though I’m a visitor here, paying respect to a style that has
informed a part of my musical identity. Country music, as much as any other art form,
should be an arena for representation, expression and provocation. I have a ton of
reverence for artists who came before me and challenged the primarily whiteheterosexual status quo.”
 Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS,
whose 2018 debut ‘Basic Behaviour’ was long-listed for the Polaris Music Prize. Making a
mark in diverse genres from country to punk, both play as permanent members of Orville
Peck’s band.
 ‘Cuntry Covers’ was recorded on the territories of the Anishnaabe, the Haudenosaunee,
the Wendat and the Mississaugas of the Credit. The release also features contributions
from FRIGS drummer Kris Bowering and vocals by Ali Jennings.
 LP pressed on opaque breeze blue vinyl.

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena
and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the
depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for
what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The
result is a pointillistic knockout of a release that weaves a landscape both luscious and a
little rogue; showing us exactly what good songs can do.
 Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings
and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley
Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal
setting for the long-time friends to compile a record of handpicked country covers. They
went searching for songs that could speak to our everyday loneliness, outside and in.
‘Cuntry Covers’ houses it all: well-worn favourites and lesser-known gems.
 The record opens with ‘Green Rocky Road’, as performed by Greenwich Village legend
Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured
vocals, complete with dreamy overlay. ‘Dreaming My Dreams With You’, a rendition of the
Waylon Jennings hit, is followed by John Cale’s ‘Buffalo Ballet’, a lyrical journey through
Abilene, Texas, the endpoint of the Chisholm Trail.
 Engineered and mixed by Duncan Hay Jennings, each song brings desire and sexuality
front and centre, with all the swagger you’d expect – and more. Bria hopes the record will
be understood as a small contribution to the subversion of a genre with deep patriarchal
roots. Mistress Mary’s ‘I Don’t Wanna Love Ya Now’, from the 1969 album ‘Housewife’,
served as the original inspiration. “It was the first song Duncan and I worked on,” Bria
notes. “It definitely set the tone for the other tracks we picked.”
 Bria’s voice - described as wavering between “sultry and howitzer” - shines on ‘Fruits Of
My Labour’, written and performed by country great, Lucinda Williams. The Walker
Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ is a harmonic (and hypnotic) standout. A
musical explorer who moves fluidly between styles, Bria doesn’t consider herself a
country artist: “I feel as though I’m a visitor here, paying respect to a style that has
informed a part of my musical identity. Country music, as much as any other art form,
should be an arena for representation, expression and provocation. I have a ton of
reverence for artists who came before me and challenged the primarily whiteheterosexual status quo.”
 Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS,
whose 2018 debut ‘Basic Behaviour’ was long-listed for the Polaris Music Prize. Making a
mark in diverse genres from country to punk, both play as permanent members of Orville
Peck’s band.
 ‘Cuntry Covers’ was recorded on the territories of the Anishnaabe, the Haudenosaunee,
the Wendat and the Mississaugas of the Credit. The release also features contributions
from FRIGS drummer Kris Bowering and vocals by Ali Jennings.
 LP pressed on opaque breeze blue vinyl.

Yellow Vinyl

From his early years on the music scene in Edinburgh, Theo Kottis has built a buzz as one of the UK's most exciting DJs. He is also the curator of his own unique sound, crafted on his Beautiful Strangers series, and gained clout from star DJs the world over.

The Mirror EP is fronted by a euphoric party track inspired by Kottis' lockdown yearning for "the kind of party where you don't stop dancing" - and crafted perfectly for this purpose. The raw energy of breaks and rave piano stabs is permeated by Busola's pep talk, getting the listener and the dancer geared up for the summer of release after a year of restrictions.

On the B Side, "Onda" takes its name from the Spanish word for waves. This is a blissed out relaxation after the intensity of the A-Side, an ode to an Ibiza poolside which still maintains a strong groove. Playful
pads pop out under sublime strings for an instantly nostalgic vibe.

Theo Kottis words on the release "Earlier this year during peak winter lockdown, craving the kind of party where you don't stop dancing, I took matters into my own hands, producing this new single "The Mirror", featuring Busola - who is the life of the party - to bring euphoric sounds to my living room and now to yours.

The thought of the impending "Summer of Love" got me through lockdown and I wanted to create something energetic and fun to mirror that excitement. I'd seen Little Gay Brother, the LGBTQ+ party and community perform at many festivals and knew their vibe would be an ideal source for this raw energy - I was introduced to Busola who provided the ultimate summer of self-love pep talk, something we all needed to get back out there post lockdown!

The second track is a nod to my summer escape to Ibiza where I played Pikes poolside and spent time in the sea and watching waves - "ondas" in Spanish - to reset and relax.

Rough Trade Records announce the release of the
15th Anniversary edition of The Long Blondes’
debut album, the acclaimed ‘Someone To Drive
You Home’.
 The home of a host of indie disco classics with its
noir atmospheres and vivid storytelling - qualities
that saw the record inspire recent, generationcapturing movie ‘Giddy Stratospheres’ which takes
its name from The Long Blondes’ iconic single -
the Sheffield band’s first album managed that rare
trick of capturing the 2000s zeitgeist while leaving
a timeless artistic mark for the ages.
 Initially inspired by the frisson of the indie disco -
now, fittingly, a classic of low lit dancefloors
everywhere - ‘Giddy Stratospheres’ is The Long
Blondes’ sophisticated calling card. A swirl of
razor-sharp guitars and vivid storytelling, waltzing
melodies and burning vocals, the Sheffield band’s
2000s single fizzes with dancing, desire and the
most stylish sing-a-long you’ll ever hear.
 The Anniversary edition of ‘Someone To Drive You
Home’, which was originally released in November
2006 and was produced by Pulp member Steve
Mackey, comes as a gatefold double LP, pressed
on to red and yellow vinyl to mirror the album’s
artwork - a picture of actress Faye Dunaway
painted by frontwoman Kate Jackson. The edition
features the original record, plus 11 additional
tracks that the band used on B-sides.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

"UMC celebrate the 50th anniversary of The Band’s classic fourth album, Cahoots, with an assembly of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set along with a 2CD and 180-gram half-speed-mastered black vinyl. All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and sport a new stereo mix by Bob Clearmountain from the original multi-track masters. The box set and CD configurations boast a bevy of unreleased recordings, including Live at the Olympia Theatre, Paris, May 1971, a rousing bootleg partial concert consisting of 11 tracks culled from the initial throes of a European tour that found The Band perched at the top of their live game; and early and alternate versions of “Endless Highway” and “When I Paint My Masterpiece” along with six other early takes, outtakes, instrumentals, and stripped-down mixes.
Exclusively for this box set, Clearmountain has also created new Dolby Atmos and 5.1 surround-sound mixes of both the album and four bonus tracks, presented in high resolution on Blu-ray, alongside the new stereo mix. Every new audio mix has been mastered by Adam Ayan at Gateway Mastering. The lift-top box set also includes an exclusive reproduction of the Japanese pressing of The Band’s 1971 7-inch vinyl single for “Life Is A Carnival” b/w “The Moon Struck One” in their new stereo mixes; a 20-page booklet with new notes by Robbie Robertson and extensive insider liner notes by Rob Bowman; three classic photo lithographs, one each by Barry Feinstein, Richard Avedon (his infamous eyes-closed group portrait from the back cover) and noted New York artist/illustrator Gilbert Stone (who painted the still stunning stretched-out portrait of The Band on the album’s front cover); plus a wealth of additional material and other historical data from the original recordings sessions. The limited-edition 180-gram black vinyl release that features a tip-on jacket also contains a photo lithograph by Barrie Wentzell that’s unique to the package."

Baltimore, Maryland’s Angel Du$t have announced details of their new album ‘YAK: A Collection of Truck Songs’, which will be released on CD on 10th December on Roadrunner Records and the band have also shared the new song ‘Big Bite’, which is joined by a music video directed by Ian Shelton.

Vocalist / guitarist Justice Tripp commented, “People get really married to the idea of making a record that sounds like the same band. If one song to the next doesn’t sound like it’s coming from the same band, I’m ok with that.”

Put simply, Angel Du$t are the guys who do whatever you don't expect.

Produced by Rob Schnapf (Kurt Vile, Elliott Smith), ‘YAK: A Collection of Truck Songs’ follows Angel Du$t’s 2019’s album ‘Pretty Buff’, and sees the group channelling an anything-goes philosophy into their tightest, most forward-thinking material yet. Recorded over a two-month period in Los Angeles last year, the album is a rotating smorgasbord of percussion, guitar tones, effects, genres, and influences, fashioned in the spirit of a playlist as opposed to a capital-R ‘Record.’ The album’s 12 tracks span jangle-rock gems (‘Big Bite’), piano-spiked power pop (‘No Fun’), and a breezy duet with Rancid’s Tim Armstrong (‘Dancing On The Radio’).

‘YAK: A Collection of Truck Songs’ also features ‘Love Is The Greatest’, ‘All The Way Dumb’, ‘Turn Off The Guitar’ and ‘Never Ending Game’, all of which appeared on Angel Du$t’s 2021 EP ‘Bigger House’,

Breezy but determined as they imbue their laid-back acoustics with sharpness, Angel Du$t continue to prove they are band averse to boundaries. The band’s Roadrunner Records debut ‘Pretty Buff’ was produced by Will Yip and earned the band critical acclaim. Widespread international attention included UK praise from Kerrang! (“13 super-accessible, honest and artfully crafted songs… there’s lots to love about them”), NME (“the fun-first hardcore group bringing ‘90s pop-rock to the pit”) and The Line of Best Fit (“a cacophony of good times and soul”).

Nate Smith Recruits Special Guests Vernon Reid, Brittany Howard, Kokayi, Joel Ross, Michael Mayo, Stokley, AmmaWhatt and Regina Carter for Kinfolk 2, the successor to his Grammy-nominated debut.
Kinfolk 2: See the Birds is the highly anticipated follow-up to the 2017 Grammy-nominated album Kinfolk: Postcards From Everywhere. Featuring the diverse and all-star talents of Brittany Howard, AmmaWhatt, Joel Ross, Kokayi, Michael Mayo, Regina Carter, Stokley and Vernon Reid, Kinfolk 2: See the Birds is the inspired and emphatic album that exemplifies Nate's artistry as one of the most exciting, dynamic and innovative drummer-composers of his generation, adept across multi-genres and styles. Taking inspiration from his teenage years spent absorbing the diverse and eclectic riches of Prince, Michael Jackson and Living Colour. Kinfolk 2: See the Birds is a multi-faceted jewel and is set to be one of the most significant albums of 2021. Nate is one of the most important artists in the progressive jazz world (Kamasi Washington, Makaya McCraven, Shabaka Hutchings, Robert Glasper, and Nate Smith) He's a torchbearer of progressive music / "one of the faces of progressive jazz" His profile / reach is significantly larger than that of his peers (larger than most successful pop/mainstream artists too) Nate accesses wider audiences by seamlessly operating in the jazz and mainstream/pop worlds. Nate operates in a unique space within the progressive world because of his drumming, his collaborations with Brittany Howard and the Fearless Flyers (Vulfpeck spinoff), his recording work with famed producers Dave Cobb and Mike Elizando, and his talent as a composer/arranger/producer. He also brings a "grown" R&B element to his music the Makaya, for example, does not. Nate Smith is an icon. He represents where jazz as a genre is going and is easily one of the most important artists you can cover in 2021/2022.

CAM Sugar is proud to present the first physical release, on LP and double CD, of the original soundtrack to the TV series “MEDICI - MASTERS OF FLORENCE” (2016-2019), that received international praise following the Netflix distribution. The original score composed by Paolo Buonvino brings the Italian Renaissance back to life. The soundtrack mixes traditional instruments belonging to classical music (a common practice with historical dramas) with smooth electronic elements, allowing the listeners to take a journey of exploration through one of the most exciting periods of European history as much as into one’s intimacy.  The result is a score that is impactful and enjoyable for a broad audience, also thanks to the voice of Skin (Skunk Anansie), who performs “Renaissance” and “Revolution Bones”, respectively the theme songs to season 1 and season 2 & 3. The LP version offers a selection of the best tracks composed for the 3 seasons, while the double CD edition features the series’ complete soundtrack.

The multiple award winning action-adventure game God Of War was first released in
2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation
4, focusses on main character Kratos’ journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods.

God of War received universal acclaim for its story, design, graphics, combat system, characters and music. It was awarded ‘Game of the Year’ by numerous media outlets and award shows. God Of War (2018) performed well commercially, selling over five million copies within a month after its release. It became one of the best-selling PlayStation 4 games.

The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The

‘The Alienist: Angel Of Darkness (Original Series
Soundtrack)’ is now available on vinyl.
 The album features music by Ivor Novello Awardwinning composer Bobby Krlic (The Haxan Cloak).
 The album is pressed on blue vinyl, with a deluxe
spined sleeve with deboss artwork and the vinyl itself
housed in its own double sided inner sleeve. Digital
download card included.
 Bobby Krlic is an award-winning British artist,
composer and music producer based in Los Angeles.
Over the past decade, Krlic has created music under
the The Haxan Cloak, releasing two critically
acclaimed full-length albums (2011’s ‘The Haxan
Cloak’ and 2013’s ‘Excavation’) and touring
extensively as a solo artist building a devout fanbase.
As a producer, Krlic has worked with artists including
Björk, Khalid, Troye Sivan, Goldfrapp, serpentwithfeet,
The Body and noise-rock band HEALTH.
 Krlic scored Ari Aster’s 2019 horror film ‘Midsommar’,
earning him an Ivor Novello Award for Best Original
Film Score. Last year, he made new music for ‘Red
Dead Online’ and also co-produced Father John
Misty’s ‘To S.’ and ‘To R.’.
 An unflinching, gripping, turn-of-the-century murder
mystery that traverses both New York’s wealthy elite
and the struggling underbelly of the city’s ‘Gilded Age’,
‘The Alienist’ follows Dr. Laszlo Kreizler (Daniel Brühl),
a brilliant and obsessive ‘alienist’ in the controversial
new field of treating mental pathologies.

Many great Blue Note artists have hailed from the jazz hotbed of Detroit over the course of the label's history including Donald Byrd, Kenny Burrell, Paul Chambers, Thad Jones, Elvin Jones, Joe Hendreson, and many more. Perhaps the only instance on an entire band coming out of Detroit was with Kenny Cox and the Contemporary Jazz Quintet, a fantastic but unsung combo led by pianist Kenny Cox whihc featured Joe Henderson's brother Leon Henderson on tenor saxophone, Charles Moore on trumpet, Ron Brooks on bass, and Danny Spencer on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing Kenny Cox and The Contemporary Jazz Quintet, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the Miles Davis Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, but the CJQ exhibited its own unique sensibilities on memorable originals like "Mystique", "trance Dance", "Diahn", and David Durrah's beautiful piece "You".

Many great Blue Note artists have hailed from the jazz hotbed of Detroit over the course of the label's history including Donald Byrd, Kenny Burrell, Paul Chambers, Thad Jones, Elvin Jones, Joe Hendreson, and many more. Perhaps the only instance on an entire band coming out of Detroit was with Kenny Cox and the Contemporary Jazz Quintet, a fantastic but unsung combo led by pianist Kenny Cox whihc featured Joe Henderson's brother Leon Henderson on tenor saxophone, Charles Moore on trumpet, Ron Brooks on bass, and Danny Spencer on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing Kenny Cox and The Contemporary Jazz Quintet, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the Miles Davis Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, but the CJQ exhibited its own unique sensibilities on memorable originals like "Mystique", "trance Dance", "Diahn", and David Durrah's beautiful piece "You".