Search:the me in you

Mikal Asher hails from the legendary reggae group Morgan Heritage and he was behind plenty of top musical moments. His vocal work here comes on top of original off stems from disco don Gary Davis, but served up with all-new fire in the form of two mixes by DJ and producer Knoe1 and Warehouse Preservation Society. Knoe1 goes first and flips the OG into boogie-laced funky stepper with squelchy bass and lush melodies. Warehouse Preservation Society then go for a more heavy, percussive and dubbed-out house cut that has tropical sound effects and humid grooves to make you move. All this comes on a mega limited 7" that is sure to vanish in quick time.

Connections by Satya is a February exclusive edition and a token of love for the year ahead. Gathering to spark an electrifying synergy, Connections is all about finding that blissful meeting point that can be achieved once we mindfully align on values, sentiments and musical sensitivities. These pillars hold up Connections’ core foundations and shape a new philosophy construction for the label. By merging four finessed tracks mastered by four invested musical minds, Satya takes a new turn for collaborative musical alchemy in the sense that Connections’ production is balanced, tasteful and touching. Each artist’s culture subtly seeps into each track and speaks volumes of their character in and out of the studio. Space Invaders, Aurora, Mentat and Spaces hold many keys to unlocking doors to full transparency and connectivity through our senses in the simplest of ways.

“These are cosmic sounds that you can get lost in and go anywhere you feel safe and adventurous.” - Zone+

'The dynamic pop-meets-R&B duo, Two Another, today announce their hotly anticipated debut album “Back to Us”, an album that traverses themes of self-acceptance, queer identity, letting go of the idea of perfection and hope for the future. Blending alt-pop, funk and R&B, the upbeat buoyancy of Two Another’s sleek yet energetic productions on “Back To Us” has an infectious potency to transform a mood or an outlook track after track. The duo again confirm their unparalleled talent as they channel raw emotion into undeniable grooves across the ten tracks which are pumped with compelling stories executed by the honeyed melodies of Eliot Porter and the joyous synths of Angus Campbell.

This 80's 12 Inch Remixes Collected edition is from the decade when the extended remix was an artform. A remix is usually an alternative, and sometimes longer, version of a previous recorded song.

Don Carlos, one of the very first italian deejays to wrap his productions up in that Deep House aura that was gripping on european clubnights and fast became the soundrack of sunday after hours with sunglasses on and beautiful dawns in the background. Both Don Carlos tunes sold by the loads on 12”s and LPs but never ever came out on a 7”. I’m quite sure many of you already know Mediterraneo while the Flute House take of Alone is an off-the-radar version played systematically by Tony Humphries for ages.

Bonus LP with Etching. Oblivion Hymns is the sixth studio album by American ambient/post-rock band Hammock. It was released on November 26, 2013 by the band's own label, Hammock Music. Oblivion Hymns was met with positive critical reception and hit No. 17 on the Billboard Top Heatseekers Album Chart in 2013. Mike Diver at Clash magazine loved the album, stating that Oblivion Hymns is "…some of the most blissful music Clash has ever had the luxury of bathing in. Hammock has gone on to become one of the foremost purveyors of affecting ambient post-rock on the scene." John Diliberto, the host of Echoes, listed Oblivion Hymns as No. 8 in the "25 Essential Echoes CDs for 2013" as an album that represented the best, most innovative aspects of the ambient music soundscape in the past year, stating that "Hammock goes deeper into their ambient chamber music with children’s choirs emerging out of swirling deeply processed guitars."

Zurich’s Elvis Cassetta delivers a dazzling four-track debut EP to his brand-new WhyNot imprint. Complete with a refined deep house sound, this is an expertly crafted body of silky smooth grooves to get floors shaking.

'Down With Us' instantly displays Cassetta’s effortless ability to create a hot house swing using just a handful of elements – subtle groove, skittish percussion and a sultry vocal sample. The whole track is thrown out wide in the breakdown, but then as the bassline is brought back in, Cassetta draws it all back in close for an intimate dancefloor moment. Definitely one of those hands-in-the-air peak-time scenes.

Dreamy synth pads steadily build under a thunderous kick drum pattern on the EP’s second track, 'Focals Finest', which takes the tempo up a notch for a real sweat inducer.

Finally, it’s all about a raw bassline on the metallic and techy 'Jupiter Groove'. Contorted slices of spoken word dip in and out throughout to create another level of leftfield, danceable percussion. While the low end is the main focus on the original, in Silat Beksi’s remix, we hear a brighter take on the deep groove. There’s a swirling sample, more prominent key stabs, eerie vocals and a teasing smattering of melody. Percussive elements are thrown from all angles, and they pulsate up into the rafters of the lofty house track, leading you further into a state of hypnosis.

Overall, these are house tracks made right – a classy release fit for warming in crowds in style.

Hotflush Recordings celebrates 20 years in the game this year, with a triple pack vinyl compilation featuring some of the key musical events in the label’s catalogue.

Born in 2003, Hotflush stands as one of electronic music’s most influential labels. A multi-dimensional imprint that helped define the development of bass music throughout the mid-2000s, in the last decade it would evolve towards the liminal spaces between house, techno, and beyond - a journey which has given the dancefloor some of its true underground classics.

This celebratory release covers every era and stylistic area of the Hotflush output. 2005’s proto-dubstep face melter ‘The Knowledge’ by Toasty kicks off Side A, with the key sides of bass music development all covered with tracks from James Blake, Loefah, Sepalcure, and Scuba.

UK techno legend Surgeon appears with his seminal remix of Scuba’s ‘Ruptured’ (2008), while the early Paul Woolford classic ‘MDMA’ reminds us of how ended up working with Diplo.

George FitzGerald and Recondite reprise some of their key formative material, while newer names Lawrence Hart, OR:LA and breakout Seoul artist Closet Yi also make appearances.

Canadian mastermind Jacques Greene rounds off the release with his slamming remix of Kiimi’s Breaking My Mind.

This is a compilation 20 years in the making, containing some of the key tracks from the electronic underground - curated and compiled by label boss Scuba.

Landmark albums deserve to be released on Glorious Vinyl, and that's why Lovemonk is presenting the first ever vinyl edition of Martín Buscaglia's 2006 corker, El Evangelio Según Mi Jardinero.

"Brain, brain, thanks for being in my head and not in my knee, if not, I wouldn't be able to kneel down to pray or keep that promise I cannot reveal". Those are the first words (translated from Spanish) of 'Cerebro, Orgasmo, Envidia y Sofía', the song that kicks off El Evangelio Según Mi Jardinero, the fourth album by Uruguayan pop genius Martín Buscaglia and his second on Lovemonk.

El Evangelio is a wonderful collection of deliciously cheeky and brutally honest songs composed by a man who was lucky enough to grow up in a home where several of his home country's cultural greats (Eduardo Mateo, Urbano Moraes, Rubén Rada, all three of legendary candombe innovators El Kinto, and Hugo Fattoruso, of Opa) would drop by to chat, write and hang out. They, and other heroes like Marvin Gaye, Tom Waits, Stevie Wonder, and Jorge Ben, have had a lasting influence on Martín's music, and it's no different on El Evangelio. Martín wrote most of the songs and plays all kinds of instruments, conventional and not so conventional (the ravanahatha - an ancient bowed, stringed instrument used in South Asia, different toys such as the Simon device and a carousel), and there are cameos by the likes of Arnaldo Antunes, Nicolás Ibarburu and Juana Molina.

El Evangelio Según Mi Jardinero is a dazzling piece of work that will make you dance your ass of and take you to place you haven't visited since childhood. Even 12 years on, the at times complex songs actually sound deceptively simple and stunningly fresh.

Madonna is the first and only recording artist to have 50 number 1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna has curated a new collection titled Finally Enough Love which includes her favourite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades.

This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix is newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

Dismantling the acoustic to feed the electronic, Editions Mego presents Telepath, the new album by Material Object. Born out of a single improvised recording session with a lone Violinist, Telepath is a startling album of future electronic music, resulting in an LP of unique and timeless tracks that reimagine a classic sound for an endless future.

Boldly departing from his previous canon of largely 'ambient' work, Material Object's Telepath renders itself out as something much stranger, something more spacious, more subtle and gradual. Moments of bouncing minimalism meet moirés of delayed pure tones phasing in and out of resolution, giving way to a series of strobing foreground gestures arranged and offset in disorienting landscapes which scatter themselves asymmetrically amongst crystal pools of reverb.

Revelling in the creative dismemberment of the original source material, Material Object slowly and patiently induces the violin to undergo every category of torsion, pressure and rupture. Its vivid acoustic qualities pass over and across the event horizon of the digital domain. Shattering then crystallising into points and coordinates, intersections, disjunctions, planes and reverberant figures. An uncanny geometry perceived only between the ears, at once dissolving and reconstructing itself.

Not to be missed here is the essential, but bonus only, add-on (available with all Bandcamp purchases) "Auxiliary Apparition", a hallucinatory expanse that traverses the same liminal geography as the LP proper but as some refracted, ghostly counterpoint. More nocturnal, overpowering phantasms looming out of a droning noise floor before fading away. A hypnotic and time-dilated recapitulation of what's gone before as if looking back from beyond a mirror. When it finally resolves in the closing moments and returns you home, you realise you haven't really moved at all.

Equally abstract, haunting and daring, Material Object’s Telepath is a singular work that abandons all notions of genre. Erupting with a tension of opposites that unfolds as a truly unique story, told in four dimensions and draped in deafening colour.

"El Pasaje del Aumento" is a collection of syncopated rhythms for hypnotic slow dance. An accident of oppressive atmospheres with a humorous sense of rhythm and composition, which moves between downtempo, African rhythms and dub. With a certain oriental softness, it introduces you into a state of enchantment, spell... a hypnotic and mysterious restlessness, almost uncomfortable. Sentuhlà squeezes his Yamaha Rm1x on this second album, creating rhythms that you would never believe possible with a single synthesizer. He spins, twists and strangles it to the limit, til getting the last drop of frequency and oscillation.

Without too obvious references, it recalls the rhythms of Toulouse Low Trax or Wolf Müller, the experimentation of Muslimgauze, the repetition of Huerco S... But if you ask Sentuhlà himself, he will also mention Fela Kuti, Sun Ra, Can, Cabaret Voltaire, Tom Zé or Lee Scratch Perry...

Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long-standing figure in the already rich underground scene of Valencia. In this solo excursion, he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms, and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear-eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened African rhythms beat up no-wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

Dynamite Cut’s little sister, SKYLINE recordings, the UK’s home of funky beats has only gone and done it again with the one and only Mike Bandoni.

Most notably known as the main man behind UK Funk heavyweights, Funkshone, this sees Mike Bandoni making a welcome return to his solo work for this new 45 on Skyline Recordings. ‘I Thought Of You’ is a delightful slice of Funky Soul/Jazz that sees Mike playing everything! A superb drum sound with layers of Rhodes, live Bass, Clav, Percussion and Organ, the cut is so soulful it hurts. A prefect balance of rhythm and melody and all that we’ve come to expect of Mr Bandoni. The flip features a sparser but funkier tune ‘Matrices’. Elements reminiscent of Money Mark, the Meters and Bob James combine to form a cracking three and half minutes of bliss. Again, a killer drum sound and instrumentation to match. One thing is clear. The new Mike Bandoni sound is here to stay and we here at Skyline Recordings dig it!

Japan's guitar hero Takeshi Terauchi reworks traditional songs and lets everything go wild with his magnificent and frenzied guitar sound. Enter the electrifying world of Eleki!

Gatefold 180g heavy vinyl LP, reverse board print. Comes with extensive liner notes by Japanese pop culture writer Julien Seveon (Cinexploitation)

All tracks licensed by King Record Co., Ltd., Tokyo, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nker

The aftermath of World War II gave rise to a global phenomenon that saw new generations of young people rise up determined to forge new paths from their elders – culturally, politically, and musically. Japan was no exception and the recent past made the local youth angrier, hungrier and even more determined to fully experience something different from their parents. The country caught on to the early rock & roll craze almost in tandem as it was happening in the States. Teenager Chiemi Eri singing "Rock Around The Clock" and Kazuya Kosaka with "Heartbreak Hotel" were among the first to make what would soon be called Rokabiri accessible to a large audience. Teacher and parent associations showed concern regarding this new music when teenagers started missing school to attend afternoon shows – one of which most notably being the Nichigeki Western Carnival where all the top names of Rokabiri played to sold out audiences. But by the end of the 1950s, the youth of Japan had moved on to something else entirely: Eleki.

The 50s and 60s were a time of rapid change that saw trends come and go. Japan, like all other industrial countries, saw its youth move from one musical sensation to the next. And in the early 60s, there was one band in particular that created a distinct new flavor: The Ventures. Leaving behind vocals and focusing strictly on the impact of the sound of the electric guitar, The Ventures drove kids crazy all over the world. Other bands followed, most notably The Shadows, but in Japan, no other instrumental rock band managed to leave such an impact. The sound of The Ventures helped boost guitar sales in Japan and soon hundreds of cover bands were popping up all over the country. The Eleki Bumu (electric boom) was now in full effect with Takeshi Terauchi emerging as its first and greatest guitar hero.

Terauchi was born January 1939 in the prefecture of Tochigi, north of Tokyo. His mother taught music and played the shamisen – a traditional Japanese stringed instrument – while his father ran, among other things, an electronics shop. Their respective professions were to be decisive in the path that Terauchi would later take. Serendipitously, at the age of five, Takeshi was given his first instrument – a guitar. His destiny sealed, he quickly began experimenting with different tools from his father's shop to give his instrument a stronger sound. The technological approach came from his father, the technique from his mother. Terauchi's signature playing style owes a lot to his mother's instrument of choice, as he attacks the notes on his guitar as one plucks the strings of a shamisen.

This exceptional compilation you are holding in your hands explores some of the best works by Takeshi Terauchi, recorded between 1966 and 1974, where the guitar hero looks inwards to Japan for inspiration. A meeting between traditional folk songs and the unique way Terauchi and his band play: the content is explosive, inspired, and highly addictive! The 60s and 70s were undoubtedly Terauchi's finest hours, and in the late 60s, one Japanese critic said that Terauchi was not only the best guitarist in Japan, but also in the world. You can now find out why.

Private Funk-Shun were a band formed in 1984 originating from the Loughton and Tottenham areas of north east London & Essex, and featured the vocal talents of Maxeen Edman-Messam - who would later go on to find fame in the early 1990s as key street soul artist Maxeen.

Originally performing under the name of Slipstream, but changing to Private Funk-Shun in 1985 after finding out another group were operating under with the same name, they toured around London & South East bringing a dedicated brit-funk following with them. Despite writing approximately 20 original tracks in their time, this self-released two-track 7" from 1986 was their only official output and has since become a certified rare groove, fetching upwards of £250 on the secondhand market.

Bečva is a river located in the Eastern part of Czech Republic. In September 2020, several chemical leaks into the river caused the poisoning and subsequent death of 40 tons of wildlife in the waterway – an unprecedented catastrophe. Growing up in Přerov, Bečva was an ever-present part of Tomáš Niesner's youth and this environmental disaster affected him deeply. In an effort to understand the river better and inspired by Werner Herzog's 'Of Walking in Ice', Niesner set out on a journey from the spring of Bečva to its confluence with river Morava, a journey of over 100km. It was a romantic quest in wholly unromantic circumstances, an attempt to expiate the irreversible.

Bečvou, the album, is a travelogue of sorts, an aural chronicle of this journey. Arranged and composed around field recordings from the river banks, it also features Tomáš Niesner on guitar, zither and modular synthesizer, unlike many of his previous releases where he'd zero in on one instrument. Combining elements of fingerstyle guitar, musique concrete and drone, it's an elemental tapestry of enveloping textures, shimmering guitar motifs and soaring synth sounds. At one moment reminiscent of the meandering improvisations of East of the Valley Blues, at others calling to mind the ecstatic minimalistic compositions of Caterina Barbieri and oscillating between moods like dread and hope thoughout, Bečvou is Tomáš Niesner's most complete statement to date, fascinating in both concept and execution.

Detroit icon Eddie Fowlkes drops ‘Forever EP’ on Rekids this March.

As one of Techno’s originators, Godfather of Techno Soul Eddie Fowlkes has shaped the Techno genre for over 36 years. With his releases on Metroplex, Tresor, Sony, Peacfrog, and his own imprint CityBoy Records and Detroit Wax Label, Fowlkes' contribution to the blueprint of modern electronic music cannot be overstated.

Returning in fierce form for 2023, Eddie Fowlkes arrives on Radio Slave’s Rekids with a sizzling four-tracker. From the red hot drums and trippy vocals on the opening track ‘Forever’ through to the bubbly synths and swinging percussion on the B2 ‘Nice’, Fowlkes’ funk-infused House and Techno has its sights set squarely on the dancefloor - an unwavering testament to the lasting production chops of a true originator.

A limited edition 7” release by TARIKA BLUE, this outstanding band release two LPs back in 1976 and 77 on the famous Chiriucuro, label. DYNAMITE CUTS give you a super fresh loud 45 cuts.

Track A1 – “Dream flower” –Djs favorite, This wonderful mellow jazz class. Taken from the mega Rare self title LP “Tarika blue”. Sampled by many hip hop artist, most famous J Dilla for the Erykah Badu “Didn’t cha know”. Heavy jazz bass line.

Track B2 – “Jimi” this is an outstanding guitars solo monster. Similar too Maggot brain by Funkadelic, HEAVY Guitars with pure emotion and feeling “JIMI” features James mason & Ryo Kawasaki on the solo guitars

T he tenth studio album by was released by Motown in 1967. It includes the #1 hit singles The Supremes "You Keep Me Hangin' On" and "Love Is Here and Now You're Gone". All of the songs were
written and produced by Motown's main songwriting team of Holland–Dozier– Holland.

Most of the album was recorded during the spring and summer of 1966. However, several songs date back to the summer of 1964. The album also includes covers of H-D-H penned songs for Motown
artists The Isley Brothers ("I Guess I'll Always Love You"), The Four Tops ("It's the Same Old Song", "I'll Turn to Stone"), and Martha and the Vandellas ("Heat Wave"). This was the group's final album fully
overseen by the songwriting team

"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.

Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.

When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.

I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…

Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.

The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.

Fourth full length album following 2022's 'Growin' Up', 2019's 3 times platinum 'What You See Is What You Get' and his 4 times platinum debut 'This One's For You'. Across these eighteen tracks Combs continues to establish himself as one of country music's most authentic and powerful voices, as he reaches new lyrical depths exploring themes of family, legacy, love and personal growth. Available on a double black vinyl set and standard CD. Promo/marketing activity including a UK promo trip.

Although better known as an actor and a sex symbol, the unforgettable Marilyn Monroe was also a highly personal vocalist. Even though she occasionally took lessons in the intervals while filming her movies, her singing remained mostly intuitive, and her voice evoked sensuality and glamour.

This 19-track collection compiles her most memorable recordings, including hits such as 'I Wanna Be Loved by You', 'My Heart Belongs to Daddy', 'Diamonds Are a Girl's Best Friend', and the perennial 'Happy Birthday', which she sang for President John F. Kennedy shortly before her premature death.




[d] A4 Romance [1954] /

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Since its incarnation as a string of tapes and CDRs for the band to sell on tour in 1999, the Sad Clown series has taken on numerous forms, including 4-track demos, live shows, a DVD, a mixtape, and 7" singles. While preparing for 2007's When Life Gives You Lemons, You Paint That Sh*t Gold, Atmosphere launched the next phase of the series, releasing Sad Clown Bad Summer Number 9, the first of four EP's dedicated to the four seasons. These seasonal releases were the first in the Sad Clown series to receive distribution, being made available on both vinyl and CD. Showcasing Slug and Ant at their best, the four Sad Clown seasons encompassed fan favorites such as "Don't Forget," `The Rooster," "Not Another Day," "Happymess," and "Sunshine," Atmosphere's biggest song to date. These four iconic EPs are now packaged into one 2xLP vinyl release titled Sad Clown Bad Year, complete with an 8-page activity book of custom coloring pages, connect-the-dots, a word find and a maze. The entire package comes housed in a reverse board jacket featuring black & white illustrations with an uncoated finish so you can color and customize yours anyway you like!

Pop Matters said that "Nnamdï's sounds are a testament to the continual melting away of genre distinctions in the current era of (particularly Black) music." His extensive catalog includes covers significant ground in hip-hop, pop, rock, punk, orchestral, and experimental music. In 2021, NNAMDI expanded his freewheeling sonic explorations for an entrée into the world of pop-infused dance and electronica with the release of the Are You Happy EP on November 12, 2021. Notably, Are You Happy is the only NNAMDI project to date that he did not produce, perform, and record by himself. To the surprise of his fans, NNAMDI bucked that self-imposed precedent to work with Chicago producer Lynyn. Lynyn is the alias of composer Conor Mackey, NNAMDI's longtime bandmate in the jazz-fusion quintet Monobody. Are You Happy released shortly before Lynyn's 2022 debut electronic LP lexicon (Sooper Records), which went on to garner significant acclaim. DJ Magazine said that "lexicon is likely to set him apart as one of IDM's next visionaries".

Red Vinyl

With the newest techno release from Marco Bailey & Sigvard, be ready to party all night long! This EP is going to be popular because it has four upbeat songs that will make you move.

First, "Faded Game" introduces a funky, chord-heavy sound that will have you bobbing your head to the beat. The captivating melodies and frantic rhythms of the following song, "Live For Yesterday," maintain the momentum.

With its relaxed, yet still danceable sound, "Smooth Mind" slows things down a notch, and "Out Of The Past," the EP's final track, wraps things up with a techno track with influences that will take you back to the dance floors of yore.

Overall, if you're a fan of techno and want some groovy, upbeat music to add to your collection, you should definitely get this EP.

Along with The Mills Brothers, the Ink Spots blazed the way for
black music groups, creating a path for many to follow. They
proved tremendously influential, with Bill Kenny's lead tenor
inspiring such as Sonny Til (The Orioles), Curtis Mayfield (The
Impressions), Frankie Lymon (The Teenagers) and scores of
others, while Hoppy Jones's trademark talking bass role inspired
an equal number of followers.

Zur Feier des 60-jährigen Jubiläums der Rolling Stones
haben sich einige der größten Country-Stars für Stoned
Cold Country zusammengetan, ein Tribute-Album, das bis
zum Rand mit neu interpretierten Versionen des Katalogs
der legendären Rockband gefüllt ist. Die von Robert
Deaton produzierten Künstler - Jimmie Allen, Brooks &
Dunn, Brothers Osborne, Eric Church, Steve Earle, Elle
King, Marcus King, Little Big Town, Ashley McBryde,
Maren Morris, Elvie Shane, Koe Wetzel, The War And
Treaty, Lainey Wilson & Zac Brown Band - haben alle
ihren eigenen Stil in die Musik der Stones einfließen
lassen und so eine kraftvolle Hommage an eine der
beständigsten, wegweisendsten und einflussreichsten
Bands der Welt geschaffen.
Die auf STONED COLD COUNTRY vertretenen Künstler
haben zusammen über 77 Mio. Social Followers und 66
Mio. Spotify-Hörer!

Savage Mode II is a collaborative studio album by Atlanta rapper 21 Savage and producer Metro Boomin. The 15 song album serves as a sequel to the duo's extended play Savage Mode (2016). It features guest appearances by Drake, Young Thug and Savage's cousin Young Nudy. Savage Mode II received widespread acclaim and debuted atop the US Billboard 200. It was supported by two singles, "Runnin" and "Mr. Right Now". Specialist promo/marketing activity.

Brigid O'Neill's new album The Truth & Other Stories, recorded at Skinny Elephant Studios in Nashville with Neilson Hubbard in the producer's chair, cannot help but be influenced by the times which informed it, 'very few people escaped being affected by the pandemic, writers included.

Somehow the experiences of it seeped through onto our work and I feel The Truth and Other Stories is no exception in that regard.'
That said, this is not specifically an album about Covid or the pandemic, 'I was fascinated by the concept of 'truth' and intrigued by the concept of everyone having a different version of their truth....a personal viewpoint, their own narrative, their own story. The title plays a bit with shades of meaning - a 'counter positioning' if you like. The 'other stories' may challenge the truth, but 'the truth'
retains that sense of the absolute. In the songs I hope to present the realities of different characters through short stories. As I moved through the pandemic however, different stories came to light and sometimes the focus would shift.

Ultimately though, I have been living with these stories and these characters for some time now.'
Neilson Hubbard as producer was an obvious choice for O'Neill. A growing relationship with Nashville had seen her writing, playing and developing relationships with the many truly great musicians available across Music City.

"Being in Nashville with a producer like Neilson who has such an intuitive feel for that music, and with access to musicians who simply live and breathe it, seemed like a good idea. I'd met Neilson a few times through our mutual friend and musician Ben Glover, and it was quickly clear we would get along and had a similar attitude to the music production process. When choosing a music
producer, listening to their catalogue of works is crucial, but so too I think is that 'gut feeling' and knowledge that you can connect. When I sent Neilson my music, I knew he 'got it' and I knew I was in safe hands." Recent years have seen Brigid O'Neill gaining a deserved reputation as one of Ireland's finest songwriters. Reviews of her critically acclaimed latest releases
have reaffirmed that the gifted artist is one of the most versatile, unique and fearless storytellers on the island. Her genre-spanning music appeals to multiple generations, effortlessly weaving elements of folk, country and jazz into relatable tales of happiness, heartbreak and the human condition.

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

Three years after the release of his critically acclaimed album "Salone",
Bai Kamara Jr returns with "Traveling Medicine Man", a 13-track
collection of blues songs portrayed in Bai's unique style
In a descriptive, provocative and sometimes suggestive way, the tales of love, life,
relationships, politics and innuendo are meticulously explored by the
raconteur.''Traveling Medicine Man is the continuation of my introspective journey
through my roots and my perpetual quest to make my two homes, Africa and
Europe, coexist within me. The title was inspired by my maternal grandfather
Tinka Tanner Kargbo, born in 1901 in the Northern Province of Sierra Leone. He
was educated by the Wesleyan Missionaries and later traveled with them across
the country to help provide medical care to villagers and townspeople. I was
fortunate enough to have spent some time with my grandfather when I was still a
child, and one of the things that fascinated me the most about him was his ability
to reconcile his Christian beliefs with his traditional African beliefs and
customs.'' (Bai Kamara Jr)For the making of this album Bai brought his touring
band, The Voodoo Sniffers, into the studio; these exceptional musicians
contributed to Bai's unique and evolving sound. With a percussive nature at the
heart of the arrangements this rootsy blues is spiced up with an afro vibe, making
you want to get up and dance more often than not. May your listening experience
be soothing and pleasurable with a healing effect

Marroon coloured vinyl.

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Perennial jazz stars Chet Baker and Bill Evans rarely recorded together and this 2LP set, including a bonus track, represents all of their collaborative sessions.
By the time the music was taped, Chet was already known as much for his singing as for his trumpet playing, but all of the performances here are entirely instrumental. After cutting these sides Baker and Evans would go their separate ways and these recordings remain the only testimony of their subtle and elegant musical
interactions.
Chet Baker trumpet
Bill Evans piano

Herbie Mann, flute
Pepper Adams, baritone sax
Kenny Burrell, guitar
Paul Chambers, bass
Connie Kay, drums
Philly Joe Jones, drums
Zoot Sims, alto sax.
Pepper Adams, baritone sax
Earl May, bass
Clifford Jarvis, drums

At last, these two glorious rare groove classics are legally back on 7'. For the first time they are longer than the original 7' with all the essence of the full length 12' versions. Unlike bootlegs, these come from the original tape sources Roy Ayers first produced with all his finesse for his Uno Melodic label in 1980. Sylvia Striplin sang in Eighties Ladies and Aquarian Dream, but she's best remembered for these two songs from her one album Give Me Your Love'.

180g virgin vinyl - audiophile pressing, celebrating 95 years of Burt Bacharach.

Considered one of the greatest composers in popular music, this superb LP contains 20 of his most essential and enduring songs, performed here by such celebrated stars as Dionne Warwick, Jerry Butler, The Shirelles, Chuck Jackson, The Drifters, Jack Jones, Timi Yuro, Del Shannon, Etta James, Gene Pitney, and others.

'The songs of Burt Bacharach occupy the same brain space as nursery rhymes and Beatles tracks: you don't remember not knowing them.' - The Guardian

'These songs played a big part in shaping my tastes in music.' - Elvis Costello