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Tommy Boy Music veröffentlicht ein Compilation-Projekt mit dem Titel "... And You Don't Stop", um das 50-jährige Jubiläum des Hip Hop mit einem 6 LP Box-Set zu feiern. Es wird einige der größten Hits aus dem Katalog enthalten, von den kultigen Naughty By Nature, De La Soul, Digital Underground und Queen Latifah bis hin zu digital unveröffentlichten Hits von G.L.O.B.E & Whiz Kid, Sweet Trio und mehr.

Riotvan is thrilled to announce the latest installment of the "Familiar Faces” series, with label bosses Panthera Krause and Peter Invasion once again opening their arms and welcoming an exceptional group of friends. Some familiar faces return, while others make a glorious Riotvan
debut. Originally conceived as a four-track release, in line with previous installments, the project took on a life of its own as the incredible music continued to flow in. Today, we are delighted to present "Familiar Faces IV," an eight-track selection that showcases the freshest and most diverse sounds from a group of our incredibly talented friends.

Super producer Mura Masa releases his first 7" single on his own record label Pond Recordings, featuring the monumental soulful house track 'rise', the calling card to the artist's new dancefloor focused era as an independent artist. 'gimme', the vinyl's B Side, is a much more dark and underground electronic track that Mura Masa first debuted on his recent BBC Radio 1 Essential Mix. This short run of vinyl is the first physical release on Pond Recordings and will no doubt prove to be a very important milestone in the development of the label.

The COLLECTIVE RHYTHM NETWORK is a Canadian radio show established in 1998 focused on underground dance music.

The 2nd single in the series features a previously unreleased full length version of INFILTRATE’s “C'MON NOW (THE D'PAC 905 DUB)”. INFILTRATE released “C’MON NOW” in 1993 on CONTRABAND RECORDS. A stellar remix 12” was put out the following year on the legendary Detroit label KMS RECORDS. From that record, and EXCLUSIVE to this release we get the previously unreleased full length remix with a distinctly KMS sounding dancefloor stomper that stands the test of time.

DJ SLUGO is a founding member of Chicago's infamous DANCE MANIA label and a true Ghetto Superstar often referred to as the “Ghetto-father of the American Dancefloor”. Here you get a rare deep house cut “SISTA 2 SISTA”.

Detroit’s CHRIS SHIVERS released the classic “DO RIGHT EP” in 1994 on TERRENCE PARKERS’ INTANGIBLE RECORDS & SOUNDWORKS record label. With additional production by TP and including atmospheric keys and a moody rhythm “THE FIFTH INNING” is one of the deeper cuts in the catalogue. A classic for the true heads.

Limited pressing with matte varnished sleeve, designed by ANDREI STOISOR.

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

Danny Daze presents a brand new alias for Slacker 85 first solo artist EP - D33 is a long-gestating alter-ego through which the Miami DJ & producer plans to explore a more house-leaning output.

The Operator EP sees the Omnidisc label owner channeling his multi-genre, Miami bass-infused sound into a quartet of stripped-down machine jams tailored for house DJ sets, with the fidgety title track issued in two flavors, the D33 ‘Wet Mix’ and Danny Daze ‘Dry Mix’, while on the B-side the heavy kick and evil bassline of ‘Azuca’ is offset by the hypnotic Jonny From Space collab ‘C’mon’.

“D33 is an alias I’ve had floating around in my head for years. It leans more towards my house music side and allows my head to dig into simpler production of dance music. My D33 production and DJ sets purposely feel a bit more laid back. Now I have the time to give out a crazy amount of hugs in between tracks while DJing… :) ” - Danny Daze aka D33

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

Trym Søvdsnes is a relative newcomer to the scene, but he’s been putting in work in and around Bergen for years, scoring a residency at the infamous Café Opera, where he snagged the attention of local house legend Bjørn Torske. Soon, the duo were DJing, producing and performing together, eventually running the monthly radio show Pigs in Space where they would go head-to-head for six hours at a time, plumbing the depths of their immense record collections.

It’s this lust for bottom-of-the-crate oddities that guides Søvdsnes’ self-titled debut album, a concoction of dub techno, hard-swung house and percussive club music that positions itself a few paces away from any conventional modes. Basically, a perfect fit for Le Jazz Non.

‘Gølles Dans’ opens with a filtered acid bassline and bone dry kick that’s like some psychedelic, slower variant of Basic Channel’s ‘Enforcement’, slicing into the groove with gristly acoustic percussion that drags it up from the basement. The producer leans into asymmetry on ‘Døgnrytmen’, wrangling 303 squelches with booming Berghain kicks and tight snares, enhancing the psychedelic potential by layering ticking percussion into loopy spirals. If you’ve ever caught an extended Dozzy set, this is the kind of ruff-edged gear he would likely play an hour before sunrise. ‘Ordnings Mix’ is weirder still, slopping chirpy bleep/rave stabs into a jazzy hybrid that sounds like a bossa meltdown.

Søvdsnes saves his most cosmic mettle for last, on ‘Cowboy Acid (Solstikk Dub)’ he strips the kickdrum to a faint knock, before building up into a sort of screwed Metro Area mirrorball that sounds brilliantly out of time.

"Night Swim" is the debut LP from Bellofatto & Gentile, a collaboration that was founded on the soccer fields of Austin, Texas during the spring of 2019. The duo of Giovanni Bellofatto (an alias of Jesse Edwards) ) & Dan Gentile initially started exploring the melodies and textures of Italian dream house, but those experiments soon evolved to include modular synthesizers, breakbeats, and left-field samples.

Bellofatto's work dates back to the 90's and has credits on albums by Jessica Bailiff (Kranky), Odd Nosdam (Anticon), and His Name Is Alive. In the early 00's, he pioneered acoustic / electronic territories with his psychedelic project Red Morning Chorus. His forthcoming solo LP "The Otherworld" is due for release on Vancouver's Pacific Rhythm under the moniker C Thru. With 20 years of DJing under his belt, Gentile released his first house music productions as Time Zones in 2019 on Mystery Zone Records, with subsequent singles on Bay Area Disco and Moiss Music. He now lives in San Francisco, where he works as a journalist and creates visual art using a modular video synthesizer.

The legend John Beltran provides mixing treatments on half of "Night Swim" that will be released on Prins Thomas's balearic imprint Horisontal Mambo in 2023.

Little Girl Blue Remixed is the 2015 remix album of the iconic 1958 debut album by Nina Simone, Little Girl Blue. The original debut album was released by Bethlehem Records, the label that earned its place in jazz history by releasing acclaimed debut albums by Carmen McRae, Chris Connor, Herbie Mann, and Johnny Hartman amongst others.

When DJ Maestro got the chance to remix this album, he was thrilled. Soon he got the idea to ask some of his favourite producers to collaborate, like Mop Mop, Renegades of Jazz, Gramophonedzie, Fab Samperi, The Reflex, and Mees Dierdorp. They all had one thing in common: excitement to work with the original recordings from this iconic album. The result is 14 remixes, each with a unique approach to the original song, and all with a contemporary feel.

Little Girl Blue Remixed is available as a limited edition of 1000 individually numbered copies on translucent green coloured vinyl.

We love to just try things at Athens of the North and when Clara and Theo (one of our PR friends) were chilling with us at pikes one evening it came up in conversation that Theo has a lovely singing voice and fancied having a spin in the studio. Roll on a month later, and they were home in Edinburgh, and we threw ourselves into a couple of days of experimenting, this little electro floater we were all super pleased with came out of the session. Tonight is a super late night CR78 drum machine mashed work out with a Theo's floaty falsetto smashing out the park, we flipped the OG with a brilliant dubbed out mix that's not to be slept on either.

Das Vinyl zu Kraak & Smaaks digitaler Version von 'Twenty – The Remixes' ist ein herrliches Doppelalbum in limitierter Auflage im Gatefold mit farbigem Artwork von George Wylesol, das es bestmöglich zur Geltung bringt. Die beiden Scheiben enthalten die meisten der neuen Remixe (Ashley Beedle, Psychemagik, Ben Westbeech, Jitwam) zum Best-Of-Sampler angesichts des 20-jährigen Jubiläums des Duos, aber auch die Klassiker von Purple Disco Machine, Hot Toddy und Richard Dorfmeister, die hier erstmals auf Vinyl kommen.

A Tribe Called Quest wurde 1985 in Queens, New York City, gegründet und bestand ursprünglich aus dem Rapper und Hauptproduzenten Q-Tip, dem Rapper Phife Dawg, dem DJ und Koproduzenten Ali Shaheed Muhammad und dem Rapper Jarobi White. Alle sechs Alben der Gruppe wurden mit Gold oder Platin ausgezeichnet. ATCQ gilt als eine der innovativsten und künstlerischsten Rap-Formationen der 1990er Jahre.

[v] d6. Berlin, Berlin (Die Zugabe) [feat. David Jakobs & Ku'damm 56 Cast] 3:28

Live LP von Sacri Monti: Psychedelischer Rausch auf der Bühne

"Erleben Sie die amerikanische Psychedelic-Rock-Band Sacri Monti in Bestform auf dieser Live-LP, aufgenommen beim Sonic Whip Festival 2022 in Nijmegen, Niederlande. Die Band zeigt sich hier von ihrer spontanen und gleichzeitig musikalisch durchdachten Seite.

Die LP bietet eine meisterhafte Darbietung von fuzzy Bluesrock, spacy Progrock, treibendem Proto-Metal und riffgeladener Fusion - brash und gleichzeitig wunderschön. Überwältigende fuzzige Vocals, Wellen von Keyboards, Boogie-Rhythmen und atemberaubende Leads verschmelzen mit Fokus, Energie und Antrieb und katapultieren Sacri Monti in ein Land voller mitreißender Riffs.

Proggy Space-Rock-Jams brechen hervor, während Melodien ein- und ausfließen, und die Vocals scheinen über der instrumentalen See zu schweben. Diese 7-Track-Vinyl-Veröffentlichung enthält Songs von ihren beiden Alben "Sacri Monti" (2015) und "Waiting Room For The Magic Hour" (2019) auf dem renommierten Label TeePee Records. Lassen Sie sich von Sacri Monti in eine Welt der psychedelischen Klänge entführen und erleben Sie die Magie ihrer Live-Auftritte."

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

Iconic french punk band Ludwig Von 88 celebrates its 40 years birthday with a 4LP/CD box set including their recent albums "L'Hiver des Crêtes", 'L'Ete du No Future", "Le Printemps du Pogo" & "L'Automne de L'Anarchie".

Who managed the artistic feat of composing 56 cosmic hits in one year, recording them, engraving them with chisels on plastic discs that are not at all environmentally friendly, and packaging them in a magnificent box, with marvellous illustrations and sleeves of a taste that surpasses perfection? Who did?

Look no further than the Ludwigs, who could do it. And since they had no plans for 2023, apart from celebrating their fortieth birthday over a tasteless cake in a dingy old flat in a godforsaken suburb in the forbidden zone, they did it. And they're proud of it.

56 tracks. One album per season. The Mozart of pogo becomes the Vivaldi of stakhanovism!

Good rough punk, ska, swing, reggae, cumbia and even yodelling. What a gift to the universe before its final destruction.

Listen and enjoy. Sing along and get your groove on. After the Ludwigs, the music will have the flavour of a rosewater romance declaimed by Garou in Birkenstock and the colour of the cosmic void after his encounter with André Rieu's five poodles.

‘Rebel Kings’ is the new album from legendary
Queensbridge Emcee Tragedy Khadafi & producer Endemic
Emerald. The Duo met back in 2013 at Goblin Studios in
Queens and have generated a great chemistry on the multiple
songs they have released over the years, leading to this
collaborative record. On ‘Rebel Kings’ we get to hear the
real Tragedy, flowing through a range of topics from the
memory lanes in Queensbridge to revealing his huge
influence on the game while always staying true to the craft.
Sonically the record is filled with that grimy NYC sound; so
characteristic of Endemic Emerald, lifted to another level via
his stellar production. Guest appearances come from DJ
Eclipse, DJ Akil, Kasim Allah & Foul Monday. ‘Rebel
Kings’ is that classic NYC boom bap for the true heads..

Mayday Parade is celebrating the 10th Anniversary of their fourth studio album, Monsters In The Closet, with an expanded vinyl reissue. The LP includes six previously unreleased demos and alternate cover art, complete with an etching on the d-side. The original July 2013 release debuted at #10 on the Billboard 200, and #16 on the UK Independent Singles Breakers. Kill Your Stereo dubbed the album “Mayday Parade’

2023 REPRESS - Rare Brazilian Bossa Nova - Latin album - Comes with insert/liner notes & packaged in a gatefold jacket - 180g TANGERINE COLORED vinyl limited to 500 copies w/obi strip // Marcos Valle needs little introduction, born in Rio de Janeiro in 1943, Mr. Valle is an award-winning/chart-hitting Brazilian singer, songwriter and record producer. He was raised on a staple diet of classical, Brazilian popular music and North American jazz. Marcos Valle grew up to be one of the most influential & innovating musicians of the Bossa nova period and is regarded as one of the greatest Brazilian artists of all time. He has recorded albums for North American labels such as EMI, Warner Brothers & Verve_cementing his career with a series of tight musical workouts moving seamlessly between funk, samba, soundtracks, soul, jazz, dance and rock. Valle contributed to some of the most important recordings by artists including Sarah Vaughan, Frank Sinatra, Sergio Mendes, Leon Ware, Chicago and Airto Moreira. Mr. Valle's work has been sampled/remixed by major artists from the likes of Jay-Z, Kanye West & Madlib.One of Valle's favorite bands to frequently collaborate with was no doubt Azymuth, who took their name from a Valle song!Azymuth (Bertrami-Malheiros-Conti) started their individual careers in the 1960s in the emergent Bossa nova and jazz scene of Rio, living in the same bohemian block in Copacabana and playing in small bars as session musicians under various other names.It was the early 1970s when Azymuth really began to cause a stir and Marcos Valle invited them to record on a soundtrack LP he was doing. The unique Azymuth sound was now born: a mix of electronic music, samba, funk and jazz that they defined as MPB-jazz (MPB stands for Musica Popular Brasileira). Over the decades Azymuth released extremely successful albums (selling millions of copies) on labels such as Polydor, Som Livre and Atlantic. Hitting the charts on multiple occasions, Azymuth played at the Monterrey and Montreux jazz festivals and at venues around the globe.The band has worked with legendary musicians from Joe Henderson to Stevie Wonder and they've also been remixed/sampled by artists such as Flying Lotus, will.i.am, MF DOOM and Peanut Butter Wolf. Their unique brand of fusion-music has influenced three generations of musicians, DJs, and producers. Music journalists across the spectrum from mainstream to underground, celebrated these raw yet wildly imaginative and musically accomplished tracks that were a revelation of jazz, funk and disco, with some even stating that the roots of EDM were on display in their early recordings.On the album we are presenting you (Brazil by Music - Fly Cruzeiro) the listener is getting yet another fantastic early Valle/Azymuth collaboration. Released in 1972, this rare album was pressed and gifted to customers of the `Cruzeiro' airline company. This promotional record came as no surprise because the connection between Cruzeiro Airlines and Valle was very tight (Valle's father was the manager and his brother was a co-pilot there).Next to the Valle/Azymuth material present, other songs include some of the all-time best Brazilian standards originally written by renowned artists such as Jorge Ben & Antonio Carlos Jobim. Take a flight with us through this fantastic album and into some of the best Jazz, Funk & Bossa Nova the Brazilian musical landscape has to offer.Tidal Waves Music now proudly presents the first ever vinyl reissue of `Fly Cruzeiro' since its release in 1972 (only 500 copies were pressed upon its original release in 1972).

Recorded Live in Italy in October 1985 and mastered directly from the old dusty cassette, here's a previously unheard Steve Lacy recording from a rare duo appearance with pianist Martin Joseph, a little known yet fascinating British musician who had worked with Harry Beckett, John Surman, Ian Carr, Tubby Hayes among others, and who later became a regular presence on the Rome mid 70's creative Jazz scene. This recording gives us an opportunity to listen to the soprano sax giant in a repertoire not frequently found on his other duo recordings with pianists. The set list includes some of Lacy's finest compositions like "Prospectus", "Flakes" and "Coastline", plus Thelonious Monk’s classic "Bemsha Swing" a tribute to Monk's visionary mastery where Joseph’s contrapuntal response to Lacy's angular lines leads the music towards a multidimensional space, a quality to be found throughout the whole album, This is a wonderful discovery! and a significant addition to Lacy's discography and legacy.

Contains printed inner sleeve with archival photos and extensive liner notes by two Italian soprano saxophone specialists Roberto Ottaviano and Eugenio Colombo, and pianist Martin Joseph himself.

The album was initially released by GoodVibe Records on June 19, 2001, with rights to the album eventually being acquired by Dreamworks Records. The label intended to re-release the album with five new songs, but Interscope Records consumed the label and all plans of re-releasing the album were shelved. On August 2, 2011, the album was re-released by Universal Music Group, to celebrate the album's tenth anniversary.

The album’s lead single "The Life" spent three months on the Bubbling Under Hot R&B/Hip-Hop Singles chart, where it reached number 9. It also peaked at number three on CMJ New Music Report's Hip-Hop airplay chart, and topped Billboard's Pacific Heatseekers chart.

Eventually, the album earned Mystic several accolades and award nominations. In 2001, Kludge magazine ranked it at number seven on their list of best albums of the year. In 2002, the album earned Mystic a nomination for Best Female Hip-Hop Artist at the BET Awards, where she lost to Missy Elliott. That same year, the album cut "W" was nominated for "Best Rap/Sung Collaboration," a new category, at the Grammy Awards; the song lost to Eve's "Let Me Blow Ya Mind," a collaboration with Gwen Stefani.

Can't Stand The Rezillos is the debut studio album by Edinburgh-based punk band the Rezillos and was released in 1978. The album includes the UK top twenty hit "Top Of The Pops", as well as several cover versions of 1960s songs: "Glad All Over" (Dave Clark Five), "Somebody's Gonna Get Their Head Kicked In Tonight" (Fleetwood Mac), and "I Like It" (Gerry and the Pacemakers). It was produced by the acclaimed Bob Clearmountain in collaboration with Tony Bongiovi.

The debut album received positive reviews from the UK music magazines and reached number 16 on the UK Albums Chart. The Rezillos split four months after the album's release, and the band did not make another studio album until their reformation in 2001 and the release of Zero in 2015. In March 2003 Mojo magazine ranked the LP in its list of Top 50 Punk Albums.

Can't Stand The Rezillos is available as a limited edition of 750 individually numbered copies on translucent red & black marbled vinyl and includes an insert.

EVERIS'S NEW ALBUM FOR THIS CHRISTMAS 2023

Everis has returned this Christmas with yet another Sell Out vinyl that will make your collection the envy of the Soul Music World!

This new offering by the soul legend Everis entitled, Everis - “Songs in The Key of E”. This limited-edition vinyl album is scheduled for a Christmas 2023 release and features some enormous brand-new tracks. This album comprises of two magnificent award-winning singers, two international rappers, from the US & UK, plus one of the UK’s Biggest Sound System Dance MC’s performing on it. This solid Holiday vinyl smash, see’s Everis deliver exciting vocal performances, with a real feel-good factor, over these tough rehashed and fresh sounding beats that are bound to make you wanna get up and dance, there are 8 solid tracks in all.

Grammy Award winning US singing sensation, Shirley Jones of The Jones Girls, best known for her numerous No:1 hit both here and, in the US, has finally jumped on a record with Everis. She last worked with him on her smash solo album entitled “Shirley” many moons ago, and of late as part of the “Soul Syndicate” crew that remixed her ‘Soul Steppin’ track. Now they have come together on a monster track entitled “This I Know - Filly B Mix (featuring Cam Jones)” which is an absolute club banger for sure, an instant underground hit!

The rest of side A called “This Side” has even more really banging tracks, a Club / House Party smasher entitled, “Come Home Tonight” and the coolest sexiest Neo Soul Vibe titled, “Just Say the Word” with Everis giving a spine-tingling vocal performance that would leave the toughest of you feeling weak. The album also features Everis’s last UK Soul Charts No.1 Christmas hit “What You Doing to Me” which totally sold out in just one day, and had Everis’s name and music heard / played everywhere in the UK, and also earned him yet another award. The album is littered with great music from Mr Smooth from start to finish, with Fresh Cuts too, just take a look.

Celebrating 30 years of success, Candlebox has revealed their final studio album, titled 'The Long Goodbye,' will be released on Friday, August 25th via Round Hill Records. Emerging from Seattle’s burgeoning mid-90s grunge scene, Candlebox quickly found mainstream success with their deep, lyrically-driven melodies and big radio hooks, as evidenced by their massive hits “Far Behind,” “You” and “Cover Me” that propelled their self-titled debut album to sell more than 4 million copies worldwide. Their follow-up album, 'Lucy,' earned a platinum certification and solidified Candlebox as a tour de force in the thriving alt-rock scene. While the commercial success of the first album played a pivotal role in the band’s trajectory to the top, it was their raw and unapologetically honest live performances that ultimately solidified their place among Seattle’s elite. In 1998, Candlebox released 'Happy Pills,' which would be their last album before going on hiatus from 2000 to 2006. In 2008, the band reformed and released their fourth album, 'Into The Sun,' and hit the road for the first time in 10 years, touring extensively and releasing 'Alive In Seattle,' a live album that included tracks from every era of their career. 2016 marked the triumphant return of Candlebox with the release of 'Disappearing In Airports,' a more classic rock-tinged album hailed by many critics and fans as their best work in years. Singles “Vexatious” and “Supernova” drove the album to debut at #9 on the Billboard Charts and spurred multiple U.S. and international tours including major festival appearances at Carolina Rebellion, Welcome To Rockville, and Lollapalooza Chile. While these iconic rockers have been blazing full-steam since, releasing their latest album, Wolves, in 2021, Candlebox is now wrapping up their long and illustrious 30-year career with The Long Goodbye.

Two years after his debut album under the moniker Aboukir, Ralph Maruani returns with a new record titled “Change”. Fitting title for a record that was written and recorded during a period of great turmoil in his life. The intimacy of these songs are reflected in the music itself.

Whereas “Digital Introversion” was floating in a sea of psychedelic infused echoes and reverb, “Change” is much more stripped down, sporting a singer-songwriter ethos. The album was recorded between December 2022 and March 2023 in Paris, France almost entirely by Maruani except for the drums which were recorded by Louis McGuire in Berlin, Germany and pedal steel by Reggie Duncan in Mississippi, USA.

The album opener “Alright” is an upbeat number with guitars reminiscent of John Fogerty’s Creedence Clearwater Revival, Strawberry Fields inspired Mellotron and Stereolab aesthetic on the outro, assuring that whatever may come next, everything will be alright. Then followed by “Release” the track that makes a direct link with “Digital introversion”, an 8 minutes Floydesque hazy jam. “Rolling on” shows a different side to Aboukir’s music as it opens up to folk/country accents in a 1970s singer-songwriter vibe. “Croz” is Maruani’s immediate reaction to David Crosby’s passing. A tribute to one of his lifelong influence and inspiration.

The album then unveils itself going back and forth between more stripped down tunes and psychedelic ones, eventually reaching its climax with “Changes”.

In celebration of the film’s 10th anniversary, Mondo is proud to present Steven Price’s original score for Edgar Wright’s Sci-Fi Comedy, the final chapter of the Cornetto Trilogy: THE WORLD’S END.
The end of a seminal trilogy of films, but the beginning of an incredible partnership, THE WORLD’S END was the first collaboration between co-writer/director Edgar Wright and composer Steven Price (LAST NIGHT IN SOHO, BABY DRIVER, GRAVITY).

PRESSED ON "DRIED BLOOD" RED
COLORED VINYL W/OBI
LIMITED TO 1000 COPIES

In the late 90s in Hip Hop, all eyes were on the South - and the Down South sound reigned supreme. Few groups were as hot as Memphis’ Three 6 Mafia. CrazyNDaLazDayz was a regional scorcher when it dropped in 1999, released under the group name Tear Da Club Up Thugs, but essentially a Three 6 Mafia full-length as core Three 6 members DJ Paul, Juicy J and Lord Infamous all contribute to the project. The record went on to be certified Gold and Three 6 Mafia went on to win an Academy Award for their contribution to Hustle & Flow. CrazyNDaLazDayz continues to have an impact to this day. A cut Juicy J first pulled together while still in high school, “Slob On My Knob”, was utilized in A$AP Ferg’s hit “Plain Jane.” In addition, the cut is interpolated into G-Eazy’s most successful cut to date, “No Limit.” Get On Down brings you this often overlooked and definitely in need of being revisited portion of Three 6 Mafia’s legacy.

Tha God Fahim has carved out a unique place in the hip-hop firmament, fashioning street-level morality tales set to mesmerizing soundscapes. Depicting an ongoing battle between good and evil, these rap fables find Fahim slaying demons, surviving betrayal, learning lessons, outmaneuvering obstacles, and ultimately realizing his limitless potential. Now, the Atlanta emcee is back with "Tha Supreme Hoarder Of All Pristine Wealth", a new album entirely produced by Camoflauge Monk. Tha God Fahim’s compelling lyricism entwines perfectly with the soundtrack provided by Monk, an acclaimed beatsmith who has crafted tracks for Westside Gunn, Mach-Hommy, Conway, Benny The Butcher, Boldy James, Mayhem Lauren, Rome Streetz, and more. Capturing the essence of Fahim’s artistry, The Supreme Hoarder Of All Pristine Wealth celebrates living life to the fullest, where luxury and abundance are hard-earned rewards for dedication, sacrifice, wisdom, and righteousness.

Ltd Edition! Augustus Muller (Boy Harsher) kündigt die Filmmusik für den Film My Animal an, unter der Regie von Jacqueline Castel feat. Amandla Stenberg (The Hunger Games, Star Wars) und Bobbi Salvör Menuez (I love Dick, Something In The Air).
Die Filmmusik ist Mullers Debüt als Spielfilmkomponist.
My Animal (Premiere auf dem Sundance Film Festival 2023), Drehbuch von Jae Matthews (Boy Harsher), erzählt die Geschichte von Heather, einer starken, aufmüpfigen jungen Frau, die in einer ländlichen Stadt im Norden lebt und unbedingt in der örtlichen Hockeymannschaft spielen möchte. Sie lernt Jonny kennen und verliebt sich in ihn, einen Eiskunstläufer, der neu in der Gegend ist. Ihre Beziehung gedeiht trotz Heathers versteckter persönlicher Probleme mit ihrer alkoholkranken Mutter, ihrer nicht akzeptierten sexuellen Orientierung und einem familiären Fluch, der sie, ihre Zwillingsbrüder und ihren Vater einmal im Monat in wilde Wölfe verwandelt. Das Stelldichein von Heather und Jonny gerät bald in Konflikt mit ihrer kleinen Gemeinschaft, bringt die Wahrheit ans Licht und führt zu einer leidenschaftlichen, gewalttätigen Nacht der persönlichen Verwandlung. Augustus Muller schrieb und nahm die Filmmusik in seinem Heimstudio in Northampton, MA, auf, wobei er hauptsächlich Hardware und analoge Synthesizer verwendete. Gemeinsam mit der Regisseurin Jacqueline Castel huldigt Muller Klaus Schulzes Musik für "Angst" und John Carpenters "Assault on Precinct 13" als Haupteinflüsse. Muller begann seine Karriere als Komponist im Jahr 2019 mit der Erstellung von fesselnden Filmmusiken für zwei Kurzfilme für die Erwachsenenfilm-Website "A Four Chambered Heart". Die Partituren mit dem Titel "Machine Learning Experiments" wurden 2020 veröffentlicht und stellten mit ihren innovativen Klangwelten sein Talent unter Beweis. Im Jahr 2023 arbeitete Muller erneut mit "A Four Chambered Heart" zusammen und komponierte zwei weitere Partituren mit dem Titel "Cellulosed Bodies".

Bags' Groove was recorded by Rudy Van Gelder and originally released by Prestige Records. It compiles material from two 10" LPs recorded in 1954, plus two alternative takes. It is described in Allmusic as "…a cornerstone of the post-bop genre." It features Thelonious Monk on the two takes of the title track, Sonny Rollins on tenor saxophone, Kenny Clarke on drums, Milt Jackson on vibraphone, Percy Heath on bass, and Horace Silver on piano in "Airegin" and "But Not For Me (Take 1)." Reissued on vinyl by Craft Recordings, released as part of the Craft Jazz Essentials series.

#A1# Eighteen months ago the first evidence of intelligent life off the Earth was discovered.
#A2# It can only be attributable to human error.
#B1# I'm not sure, what do you think? I've got a bad feeling about him.

Roland TR-909
Roland TR-808
Roland TR-707
Roland TR-606
Roland TB-303
Sequential Circuits Prophet 5
Oberheim SEM
Oberheim Matrix 12
Ensoniq DP/2
Alesis Midiverb III
Allen & Heath GL2400

Unverkalt malen Klanglandschaften zwischen Athen und Berlin entdecken - in limitierter Auflage als Col

Unverkalt ist eine Alternative-Rock-Band, die sich zwischen Athen, Griechenland, und Berlin, Deutschland, mit ihrem aktuellen Sitz in Berlin, bewegt. Ihre raue und vielseitige Stimme, kombiniert mit Einflüssen aus dem Post-Rock, Sludge/Doom Metal und der Alternative Pop/Rock-Szene, schaffen eine einzigartige Verbindung, die Unverkalt hervorstechen lässt. Die Musik von Unverkalt ist auch von europäischem Kino, Kunstrichtungen und menschlichen Erfahrungen inspiriert und umarmt Dunkelheit und Romantik.

Die Band wurde 2017 von dem Gitarristen Themis Ioannou und der Sängerin Dimitra Kalavrezou in Athen, Griechenland, gegründet. Gitarrist George Stamkos stieß während der Aufnahmen ihres Debütalbums "L'Origine Du Monde" (2020) zur Band und erhielt positives Feedback aus der ganzen Welt. In den Jahren 2021 und 2022 tourte die Band zur Promotion des Albums hauptsächlich durch Griechenland und Osteuropa. Unverkalt begab sich Anfang 2023 in die Rawbite Studios in Berlin, Deutschland, um ihr zweites Full-Length-Album "A Lump Of Death: A Chaos Of Dead Lovers" aufzunehmen, mit dem neuen Bassisten Spyros Olivotos. Ihr nächstes Kapitel zeigt deutlich, dass die Band ihre eigene Identität gefunden hat und eine klare Vorstellung von ihrer musikalischen Ausrichtung hat

Banzaï Lab is proud to present 'Rogue Monsters 2', the new album from Al'Tarba x Senbeï.

Al'Tarba, the architect of sonic shadows, and Senbeï, the master of electronic textures, join forces once again on an opus that's off the beaten track.

A fusion work inspired by skate subculture, Rogue Monsters 2 transcends convention, blending heady rhythms and ethereal harmonies.

Retro samples blend with contemporary electronic melodies, recalling the fusion of styles and the abo- lition of musical chapels specific to the sound universe of 90's/early 00's skate culture. We're naturally reminded of the soundtracks to Larry Clark films (Bully, Kids), skate documentaries (Fully Flared, Video Days...) and video games (Extreme Games, Tony Hawk's Pro Skater...).

This second joint opus is much more than a simple album, it's a unique and timeless experience, fusing hip-hop, punk and electronic music.

Rogue Monsters 2 stands out in today's musical landscape, offering a bold vision of what defines an album, one that will appeal to those nostalgic for the Golden Era of the 90s as much as to those exploring new sounds.

This is quite a unique release , as expected with genre-defying label Subsound Records. From a mystical frontier where the East meets the West comes a psychedelic wonder called The Cyclist Conspiracy This musical collective consisting of ten men and women creates unique sonic escapism for the soul that embark any listener onto a long-haul voyage without further ado. New album "Mashallah Plan" is a psychedelic tapestry that blends infuences from various parts of the world into a seamless unique "desert" rock experience - a monumental psychedelic piece set in the landscapes of Northern Africa and the Middle East bolstered by some magnifcent choral work and powerful riffs. The Cyclist Conspiracy, The (Anti) World Orchestra is the musical output of The Little Brothers dedicated to The Mysteries of The Last Age. Started as an informal project within the Society For The Development Of Alchemical Studies "Vasko Popa" in 2014, it is now a musical troupe consisting of ten male and female souls. The orchestra draws infuences from various parts of the world while trying to avoid superfcial, "new age" eclecticism and direct its creative efforts towards the synthesis of the given elements. Whether it's the Byzantine Empire or secret nomadic paths of the desert, the smokey cafe crowded with manges and frivolous women, or the steppe with the sky for shaman only, psychedelic or turkce rock, Middle or Far East, the journeys the cyclists taking are never the quest for the heart of this world. Sometimes they appeared as a symbolic quest for Constantinople, the heart of The Cycling of Byzantium, but they are always the quest for the heart of the only true light Agape. The Cyclist Conspiracy have played numerous concerts in Serbia and neighboring countries, whether as headliners, support for other bands (Acid Mothers Temple, King Dude, Hayvanlar Alemi), or a part of festival lineups (Haywire Festival (RO), INdirekt (CRO), Zelenkovac Jazz Festival (BH), The Music of the Secret Society that Owns Belgrade (SR)). Their new album "Mashallah Plan" is a psychedelic tapestry that blends infuences from various parts of the world into a seamless unique "desert" rock experience - a monumental psychedelic piece set in the landscapes of Northern Africa and the Middle East bolstered by some magnifcent choral work and powerful riffs.The band comments: "Mashallah Plan" is a story about a spiritual journey on a bicycle. This simple device reveals its profound symbolism only through the path of most resistance and thus represents a perfect esoteric vehicle for The Dark Age we are living through".

Meteora - a chain of Greek-Byzantine monasteries was built around the 14th century on top of sandstone rock formations in the fading range of the Pindus Mountains, in the Thessalian lowlands of Greece At an over 600 meters high, some of them were only accessible by rope ladders or winches for hundreds of years. Makiko Hirabayashi learned of this place during a concert tour to Athens and was immediately captivated by its symbolic power: the isolated units which nevertheless exist in a larger context; fragile and floating, but at the same time firmly grounded. The opening title of the new, fifth album of her trio seems to have been perfectly chosen; "Warp", relating to the space above the early monasteries on the rock formations, as well as connecting the album to her previous release Weavers, in which much was woven with warp threads. A high-pitched bass, the subtle use of electronics, like everything else that follows, seem to emerge somehow from outer space. These are seemingly simple structures that only reveal themselves as complex architecture upon repeated listening - meditative and fleeting, but at the same time permanently carved into the rock. Minimalistic piano figures from which melodic fragments emerge, in their very clarity offer ample material for improvisation. With onomatopoeic percussion, an impressionistic and scenic painting is sketched in "Birds Ascending", whereas enthralling rhythms lead the way in "Chestnut Alley" or the sky-racing "Meteor". In between those, you find the improvised miniatures like "The Door" or "Slip", aspherical connections between worlds: imaginary doors, rope ladders or hinges. After the lockdown album Weavers, Makiko Hirabayashi is back in the piano trio setting with Klavs Hovman on bass and the legendary percussionist/ drummer Marilyn Mazur, reclaiming her space and time. Some of the material produced here has been part of their live repertoire for some years and gone through a maturing process, becoming an integral part of the whole album put together in the spirit of Meteora.

Half-speed vinyl release of the Dire Straits number 1 album Brothers In Arms, mastered by Miles Showell at Abbey Road Studios. Originally released in 1985, the album features the singles ‘Money For Nothing’, ‘Walk Of Life’, ‘So Far Away’, ‘Brothers In Arms’ and ‘Your Latest Trick’. The winner of multiple Grammy awards, the album was the first ever to be certified 10-times platinum in the UK and is one of the world’s best-selling albums. Part of the UMC half-speed range, the package includes a branded obi-strip and a certificate of authenticity from Abbey Road.

Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

Laolu makes his Crosstown Rebels debut with ‘Now I See’, combining with Off The Meds frontman Kamohelo Khoaripe across the two-track release. Having emerged via his versatile and dynamic DJ sets for the likes of Circoloco, with releases via labels such as Keinemusik, Innervisions and Anjunadeep, Swiss DJ/producer Laolu has stamped his mark while racking up support from Dixon and Black Coffee. Arriving in fine form, he closes out November with a classy label debut on Damian Lazarus’ renowned Crosstown Rebels as he serves up his latest two-track release ‘Now I See’ - a vibrant and personal release shaped and finalised after a decade following the birth of his daughter.

Spirited and resonant, combining soulful female vocals with organic percussion and sweeping melodies throughout, ‘Now I See’ is a warm and sonorous production set for heartfelt dancefloor moments, while ‘Monday To Sunday’ featuring the impactful vocals of Kamohelo takes a darker path as swirling bass patterns, menacing synths and warped tones merge around the commanding flute for a powerful late night cut.

Sistro (Sistrum) is a kind of percussion instrument that has had several incarnations and names in various cultures since the time of the Sumerians and throughout history has always been associated with religious rituals. It’s from this relationship between music and the transcendent that Nuno Oliveira (Nuno O, Judas Triste, José Pinhal Post-Mortem Experience), Tito Silva (Vasco da Ganza, José Pinhal Post-Mortem Experience) and Rodolfo Oliveira (Oficinas TK) were gradually inspired to create a trio that pays homage to this instrument of ancient times.

The project was born casually and without intentionality throughout several incursions into megalithic monuments in the hills and mountains of northern Portugal, culminating in an unusual two-day session of musical experimentation in Esposende, in September 2019. In this two-day session, codenamed “Arménio Sessions”, the trio explored a sound based on sea soundscapes, electronic beats, electric noises and the strings of na altered guitar. Channeling the strength of the elements and the mystique of the place in the form of a musical experience.

In 2021, Sistro collaborated with Mario Klingemann (aka Quasimondo) who created a music video especially for the band, created using a vintage video mixing board. Then using feedback loops and a process that Klingemann calls “Neural Edit”, which uses an artificial intelligence algorithm to correlate the raw video material with the sound.

After a long period of incubation, the group's first full-length release sees the light of day on the 31th October, 2023, moment in which a sequence of rituals begins to present and celebrate the relationship between music and the transcendent. Sistro's debut album will be released by Favela Discos, having been mixed by Tito Silva and mastered by Pedro Augusto. The photography and graphics are by Oficinas TK.

Das bahnbrechende Album von Decca aus dem Jahr 1966 - John Mayall's Bluesbreakers with Eric Clapton - wird neu aufgelegt und reproduziert originalgetreu die monoaurale Veröffentlichung von Decca Records UK aus dem Jahr 1966. Es wird auf hochwertigem
180g Vinyl gepresst. John Mayall stammte aus Macclesfield, Cheshire, und wuchs in Cheadle Hulme auf.

Er hatte sich bereits einen Namen in der Blues-Szene von Manchester gemacht, bevor er 1963 auf Drängen von Alexis Korner nach London zog. Eric Clapton schloss sich Mayall von den Yardbirds an, enttäuscht von der poppigen Richtung, die die Gruppe einschlug,
weg von seinem geliebten Blues. Als Ergebnis wurde Blues Breakers With Eric Clapton zu einem Eckpfeiler der Blues-Rock-Szene der Mitte der 60er Jahre, angefangen beim ikonischen Cover (ein desinteressierter Clapton, der das Comic-Magazin The Beano liest);
es war eine ernsthafte Hommage an die Musik, die die Musiker so inspirierte, und schuf einen schweren, warmen Sud; eine unverkennbar englische Interpretation einer amerikanischen Form. Es stellte auch einen chartbrechenden Durchbruch dar und erreichte im Juli 1966 Platz 6.

Diese Neuauflage reproduziert originalgetreu die monoaurale Veröffentlichung von Decca Records UK aus dem Jahr 1966 und wird auf hochwertigem 180g Vinyl gepresst.

Emerging from the cold echoes of Reykjavík's underground music scene, ex.girls, previously known as Russian Girls, chart an inspiring journey from inception to international recognition. Founded in 2017 as a personal venture by Guðlaugur Einarsson, the act soon evolved into a vibrant, collaborative platform for kindred spirits bonded by an unyielding passion for music.

The project consists of three: frontman Tatjana Dís on vocals, alongside Guðlaugur Einarsson and Gylfi Sigurðsson. Their kinship took root at their erstwhile studio on Skúlagata in Reykjavík, where this creative sanctum became a melting pot of musical exploration, learning, and leisurely hangouts. Guðlaugur and Tantjana also ride the waves as members of the rock band Skrattar, whose album 'Hellraiser IV' saw Bjarki's experimental bbbbbb recors imprint venture outside strictly electronic music for the first time in 2021.

Despite their penchant for maintaining an enigmatic aura, ex.girls won the ‘Best Icelandic Electronic Music Song’ in 2022 with their anthem, 'Halda Áfram', released during the backdrop of the COVID-19 pandemic on bbbbbb recors, which translates to “keep on going”, became a beacon of hope during tough times in the Icelandic music scene. Their distinctive sound palette paints with broad strokes of lush arrangements cemented with a lo-fi disposition. It's a soundscape where the rumble of a crunchy bass meets a quirky sprinkle of Nordic humour, a signature style they fondly dub as 'SauerLounge'.

While the group has traditionally embraced a leisurely cadence in unveiling new music, anticipation bubbles as they gear up to their debut album, ‘Verk’. A twelve-track exploration of experimental, conceptual and unorthodox textures and sonics, with sounds and influences spanning rock and nu-wave through to electro, drone and ambient. The result? An absorbing and hypnotic trip, with twists and turns across every track, presenting a debut album that keeps you guessing minute by minute.

To be released in both vinyl and digital formats, the album will also welcome engaging remixes from artists native to Iceland and the broader global stage. In a world of ever-evolving music, ex.girls stand out as a testament to authentic collaboration, raw talent, and the art of electronic storytelling.

ex.girls ‘Verk’ LP drops via bbbbbb recors on 24th November 2023, with remixes to follow in the months ahead.

For Fans Of... El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Producer "Grimez" has been making music for 20 years deep Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analog instrumentals. Jason Grimes is all about making timeless music. The Cincinnati-based DJ and producer has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimes works with some of Cincinnati’s finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. As a teenager in the 90s, Grimes fell in love with hip-hop at an early age. He became comfortable scratching on a pair of 1200s and sampling records with an NPC in high school. After years of collecting records and working on his sound behind the scenes, he had compiled a huge discography of original songs – but he wasn’t sure how to share them. “I got pretty burnt out and I had to take a hiatus for a few years,” he explained. “There wasn’t much going on in the Cincinnati music scene, and it always felt like an uphill battle.” Then, on a casual bike ride with his wife through Loveland in 2015, Grimes came across a new record shop. “I heard some music playing and I saw a sign that read ‘funk/soul’ – I had to go in and see what these guys were all about.” He spoke with Terry Cole, co-owner of Colemine & Plaid Room Records. “It was a breath of fresh air to meet Terry. The interaction inspired me to start making records again.” A short time later, Grimes started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. “Doctor Bionic is a studio band of session musicians,” he shared. “The personnel changes on every record. It depends on the sound I’m going for.” For every record, the goal is to make timeless music. Grimes is responsible for writing, recording, producing, mixing, and releasing the records. Spiritual Conquest features several heavy hitters from the Cincinnati music scene. Brad Myers and Brandon Scott played guitar on a few tracks each. Marvin Hawkins laid down some live drums. The album offers a dynamic mix of instrumental hip-hop sounds. From punchy, head-bobbing beats to ethereal, floating piano lines, the mix offers a little something for everyone

HERTZ marks a change in perspective for Geneve, informed by major life changes and intense growth brought to life with her signature brutally honest lyricism The release of the singer/songwriter's debut album, the AMP-nominated Learn To Like It, coincided with the pandemic resulting in the quiet months that followed spent conceptualising and writing her second LP. "My experience had broadened - I'd been touring and working so hard for so long and then I finally had a chance to do not much at all. I was also diagnosed with bipolar at that time. Understanding the implications of that diagnosis is a big part of this album," she explains. As a result this new release is very much a concept album, an incredibly vulnerable documentation of Geneve processing her experience with bipolar disorder. She plotted the progress of songs to reflect the ups and downs of a mood cycle forming a frequency, hence the album title HERTZ. Geneve is a record-breaking seven-time winner of WAM Song of the Year, and has honed her live chops on the stages of Falls Festival, Laneway, Party in the Paddock alongside bills supporting Cat Power, Kurt Vile, Julia Jacklin, Belle & Sebastian, Fred Armisen, Gareth Liddiard and more. Her debut North America tour was supporting San Cisco in 2019, and she was invited to showcase at 2020s SXSW and The Great Escape.

This EP is 6 unreleased tracks in the Thomas Brinkmann celebrated Max Ernst series of 12", all with female names, released with names ordered alphabetically. Starting with. 1. Anna Beate, the series ran for 12 releases over the 2 years from 1998 to 2000. 2. Clara Doris 3. Erika Frauke 4. Gisela Heidi 5. Inge Jutta 6. Karin Lotte 7. Monika Nikola 8. Olga Petra 9. Susie Trixi 10. Ulla Vera 11. Wanda Xenia 12. Yvette Zara, followed. There was never an ep with Q and R. Number 9 is Susie and Trixie. The tapes were lost. But have come to light nearly 25 years later. So now, here is Q/R; Quila 1-3 and Romy 1-3. What we have here are the original tracks as intended for release, with some minor editing and rearranging for release now. The original series was very successful. The first 3 12", released at the same time were a sensation on release. Suddenly, Thomas Brinkmann was the name to check. Today, these Quila/Romy tracks may well have the same impact as the other tracks in the series had when they were released. There is still nothing that sounds like this music. It seems to be an example of a perfect melding of soul and machine. 25 five years later... a annniversary of sorts, offered up by the machines.

25th anniversary limited edition yellow 2LP, download card included. Praise for What Burns Never Returns after its original 1998 release: As the purveyor of brainy, muscular instrumental rock, Don Caballero spent most of its early years labelled the “Geeks from Pittsburgh who don’t sing.” Now that the rest of the indie-rock world has warmed up to instrumental rock (see the popularity of Tortoise, et al.), Don Caballero reemerges from hiatus with its third full-length, What Burns Never Re-turns. Staying ahead of the learning curve, the band employs little of the muscle that marked its earlier efforts, instead adopting a more high-brow, abstract approach to its music making. The band is not improvising per se, but creating meticulously arranged, post-Kind Crimson-like songs that attack odd time signatures. Stunning in its acrobatic musicianship, intriguing in its relentless experimentalism, What Burns… is indeed a welcome return. — Tad Hendrickson, CMJ New Music Report // The follow up to 1995’s monolithic “Don Caballero 2”, “What Burns Never Returns” is a study in industrial-strength grace, like some archaic machine heaving in exorable arabesques. The metallic guitars and grinding rhythm section interlock with mechanistic precision, yet a very human friction shoots sparks of real beauty. — AJ Sutton, Billboard // What superior minds conceived these eight amazing instrumentals, at once impossibly complex and yet powerfully direct, and what mere men have the strength and discipline to perform them? … There are no druggy lyrics or samples or ironic reappropriations of outré instruments here - just thrilling purity and exhilarating single-mindedness.

Slave featuring Steve Arrington is being reissued on vinyl for the first time since it’s 1978 release. After the successful reception to Rhino's Zapp and Roger - All The Greatest Hits release for Black Music Month, Rhino has got another excellent and unexpected addition for any funk collector!

Arguably the hottest of the '70s Ohio funk bands, Slave had an incredible run in the late '70s and early '80s. Their best tracks were lyrically simple, but the arrangements and rhythms were intense and hypnotic. Some of their top hits include "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981 – which you can expect to hear on this new reissue.

Apocryphonis the fourth studio album by American heavy metal band The Sword and featuring The Veil of Isis, Cloak of Feathers, Arcane Montane and The Hidden Masters Recorded at Magpie Cage Studios in Baltimore, Maryland with producerJ Robbins, it was released by New York label Razor & Tie in October 2012.Apocryphonis the band's first album without original member Trivett Wingo, and the first to feature his replacement Santiago "Jimmy" Vela III, who took over from interim touring drummer Kevin Fender in October 2011; it is also the first of the band's albums to be released by Razor & Tie, with whom the group signed in early 2012 after seven years with Kemado Records. Remastered and pressed on 180 gram vinyl. Housed in a gatefold jacket featuring artwork by the award-winning comic book artist and penciller, J.H. Williams III. "Heavy metal distilled to its purest form." - Consequence

The story of Elvis Presley’s ‘discovery’ has passed into showbiz legend and his recordings at Sun Studios have gone down in history. Between 1953 and 1954 That’s When Your Heartaches Begin, That’s All Right, Blue Moon Of Kentucky and Milkcow Blues Boogie were cut. By chance, two covers stood out; Arthur Crudup’s That’s All Right and Bill Monroe’s Blue Moon Of Kentucky which were adapted into high-energy mixes of Blues, Country and Rockabilly. Reaction in the Memphis area was enthusiastic and the Band continued to perform their weekly slot on the Louisiana Hayride Radio Show and bonus tracks from the Hayride Radio Show have been included on this LP. Elvis was the first and greatest star of the Rock ‘n’ Roll era and his early recordings will always retain their appeal.

Three tracks that were included as bonus tracks on the Gherkin Jerks compilation CD from a few years ago are now up for their release on vinyl. All originate from the same Gherkin sessions as Mr. Heard's two outstanding late 80's EP's but were never released as such. The moniker showed a different side to his sonic pallet, and would innovate the acid sound to great FX, influencing a great many of artists in the decades that followed. Psychotic Fantasy eventually made its way to the Dance 2000 Pt. 2 album, while the original full take of Ecstasy and Reznaytor never saw the light of the day. Now for the first time on wax and still sounding as futuristic as ever!

PSYCHEDELIC WITCHCRAFT is fronted by an Italian doomstress named
Virginia Monti
The band was formed in March 2015, inspired by the imagery of Occult and
Witchcraft, psychedelic colors and emotions and the sounds and the pictures of
an almost lost era.
A Must for anyone into occult, stoner blues rock!

Leatherette’s 2022 debut album Fiesta offered an intense, inspired and individualist take on post-punk, their caustic riffs, fevered saxophone blasts and impassioned vocals revealing the five-piece skilled purveyors of the form.

The group's second album Small Talk, however, is clearly the work of a group ready to take flight in a new direction all their own. As they toured Fiesta across Italy and Europe, Leatherette grew tired of the genre's constrictions and yearned to spread their wings. Small Talk transcends all the group have done before and coins a voice uniquely their own, driven by the same furies that propelled Fiesta, but finding fresh new forms for expression.

The album boasts some of Leatherette's most unabashed pop-songs to date – albeit pop that's deftly twisted, pointedly perverse and ready to explode when you least expect it.

It also contains some of the group's most challenging and uncompromising noise yet, the violent swinging back-and-forth between ugly din and nagging tunefulness a (molotov) cocktail that grows only more addictive with each listen. Where Fiesta saw the group enter the studio with a batch of anthems they'd honed on the road, their approach for Small Talk was very different, leaving the sessions open to moments of on-the-fly invention and sparks of mad genius. The interplay between the five musicians is so much stronger this time around, the group say, a result of the months of touring the band put in following the release of Fiesta.

Living out of rucksacks and spending hours on the motorway in a tour van might not be everyone's idea of a good time, but that's what Leatherette credit with sharpening their intra-group bond, their almost telepathic feel for the sounds that will complement what their bandmates are playing. “We were more free to play and to rearrange, because we knew each other better now,” says guitarist Andrea Gerardi, “and the interplay is more focused on this album as a result.” The sessions for Fiesta were frustrating, Andrea says, because “we were playing the same songs over and over”.

Their approach was radically different for Small Talk, however, which saw the group file into Bronson, a local club where they've often played before, and record the album on the premises. After the sessions, the album was mixed in Bristol by Chris Fullard (Idles) and mastered in Portland at the legendary Telegraph Audio Mastering by Adam Gonsalves. "We recorded live, all playing together at the same time, rather than overdubbing the instruments," says Michele. The process, he says, "made us more coherent, and the songs more spontaneous." "Our strength is live performance," adds Andrea, "so we tried to capture that interplay. Sometimes we made errors, but we didn't care, because it sounded great. This music is our lives - it doesn't need correction. We were free for the two weeks we recorded the album, and the ideas soared in the most amazing way." Indeed they did. The album's see-saw between angular noise and pop coherence is very much its strength, and very much the sonic identity of this singular group

Preston’s unholiest sons Evil Blizzard return with their most furious, compelling and diverse album to date, released on their own Crackedankles label, (which has recently branched out into releasing the likes of Hotwax, Thank, Bad Guys and TV Face.) Following the critical and commercial success of their last album ‘The Worst Show On Earth’ the band took a year off after that tour to recoup. And then got back together in March 2020, just in time for… another enforced year off. They did, however, release ‘The Very Best Of Evil Blizzard’ on vinyl, which was completely blank. And sold out in less than a day. The new album, their fifth, was written during and post lockdown and ‘reflects the claustrophobia, fear and paranoia of those days’ according to guitarist (not bassist!) Filthydirty. ‘The band has changed. One of our 4 bassists Kav left and we were joined by Fleshcrawl (aka Mr. Dibs, Hawkwind’s vocalist and bassist for over 12 years). Kav was inimitable as a musician, so it never crossed our minds to try and ‘replace’ him, so when Fleshcrawl scurried in he brought a whole new range of sounds and toys to the sandpit. Also, we’d run out of sonic space to play with, having just the basses, and everything had got a bit stale - so I switched to lead guitar which brought a whole new range of possibilities. 'The new album is much more representational of the band’s record collections: it retains the ‘Sabbath-meets PiL-meets Killing Joke’ sound found on the band’s earlier albums, but now encompasses dub, goth and electronica in its 8 tracks, with clear nods in the general direction of Sonic Youth, Jane’s Addiction, Leftfield and The Mission. As opposed to all previous albums which were recorded live in one or two takes, this album took over three months with the band meticulously de-structuring songs ‘that sounded too much like pop songs’ resulting in an album that is uncomfortable yet still accessible. Featuring cover art by the legendary Nick Blinko or Rudimentary Peni, the album is released in gatefold sleeve on black vinyl, compact disc and DL.

Social Limbo is the new album by OPEZ. A collection of eleven dreamy, rough, abundant instrumental songs which have the guts to subsist and survive the fluidity of our times. With his melodies Massi Amadori tells the nostalgia and melancholy of a lived, loved and consumed Italy.

In the Limbo of a rebirth. With the desire to imagine himself female, sensitive, sexy. With a swinging mood. The dreamlike suggestion in “Male Nostrum”, the mysterious love in “Venice”, the social raids in “Social Roll”, the dust and the silence in “Limbo” are just some of the tracks that represent the meeting in a place between dark and light, between east and west, with the heart in the south. And as always in that Limbo between life and death. The eleven tracks represent a shared work with musicians and producers of the caliber of Andrea Benini (Mop Mop), Francesco Giampaoli (Sacri Cuori, Hugo Race) and Manuel Volpe (Rhabdomantic Orchestra).

Recorded between Turin and Ravenna in the hot summer months from 2020 to 2023. Once again the images and graphics are curated by the Umbrian artist Aimone Marziali. Mastered by Kelly Hibbert at Almachrome. produced by Andrea Benini.

Did you know that Judy Freeman and Blackrock cut more songs than the 4 that were put out in 1971? We know of at least one.

"I Know Where You're Coming From" is a 70s funky Northern Soul masterpiece. We've rescued a lost, never heard before, track by the group for the A-Side here. Fans of their music will immediately connect with this blistering anthemic Northern Soul monster. Go ahead and grab the talcum powder, and prepare to dance up a storm to this one.

We've selected the completely unrelated, previously unreleased Marshall Hooks "She Is All I Need" for the B-Side on this one. A relatively straight ahead Otis Redding-styled Soul original that thumps and a nice compliment to the A-Side. If you aren't familiar, Marshall released one LP on Blue Horizon and a monster R&B 7" in 1965 on the Muriel label.

FROM RAY CHARLES TO SELAH SUE, FROM NINA SIMONE TO IBEYI, FROM BARRY WHITE TO ALOE BLACC, DISCOVER THE BEST OF THE GREATEST VOICES OF SOUL MUSIC OF ALL TIME IN A 5 VINYLS BOXSET

Nu Groove spotlights the artists that made the legendary NYC label a firm favourite of crate diggers then and now with a series of their vital tracks re-edited by leading industry figures and choice selectors of today. ‘Nu Groove Edits, Vol. 3’ continues to celebrate Rheji Burrell’s output, who was instrumental in defining the sound of Nu Groove alongside his brother Rhano under a slew of monikers.

Up first, Metro’s ‘Turnstyle Turbulance’ gets a fresh edit from respected remixers, the Italian duo NiCe7. What follows is another take on the celebrated house track ‘APT. 2B’ by Rheji’s N.Y. House’n Authority alias, this time by Mark Broom. Tracer’s ‘Love Fantasy’, the collaboration by Luie Rivera and one of the original Paradise Garage DJs, Joey Llanos, is given an edit by Dirty Channels, another established Italian duo and frequent collaborators of NiCe7.

Completing the collection is another edit from the unstoppable production duo Honey Dijon & Luke Solomon as they take on ‘Guitarz’ by Rheji Burrell as Asylum.

First Word Records are very proud to bring you a new album from Don Leisure with Amanda Whiting. 'Beyond The Midnight Sun' expands upon ground first explored on Don Leisure's track 'All Praises Due', which also featured Amanda (with Angel Bat Dawid), and featured on his previous album 'Shaboo Strikes Back'.

This is a full-length project that these two formidable Welsh artists have collaborated on together. To bring you up to speed, Cardiff DJ and beat-maker Don Leisure has been twice nominated for the Welsh Music Prize, with the afore-mentioned album 'Shaboo Strikes Back', and a previous project, 'Steel Zakusi'.

As well as being 50% of Darkhouse Family with Earl Jeffers, he's released music under various monikers on labels such as Metalheadz, International Anthem, Fat City, Earnest Endeavours, Group BraCil and on Rough Trade with another regular collaborator, Gruff Rhys. Other collabs have included Charlotte Church, Om'Mas Keith, DJ Spinna and First Word label-mate Tyler Daley ...

Eight years following their debut LP “Charnel Passages” (one of the most anticipated death metal debuts of current death metal cannon), US-via-UK abyssic death metal contingent CRUCIAMENTUM have finally emerged with their sophomore masterwork “Obsidian Refractions” set for release on Nov 24.

Now more commanding than ever with a formidable new lineup, “Obsidian Refractions” sees CRUCIAMENTUM deliver their most advanced and overpowering work yet. Taking everything in the band’s death metal paradigm to the next sonic measure beyond anything they have previously released, “Obsidian Refractions” combines the very essence and aesthetic of ancient cult death metal while encapsulating the dynamic, complex, next-level affectations relevant in today’s death metal landscape. The result being “Obsidian Refractions” as a towering death metal monument unparalleled.

As the warehouse-rave season approaches, it’s perfect timing for Shadow Child & Mark Archer to make their collaborative debut on Food Music with a special release that includes 2 vinyl only exclusives that saw a digital release on DJ Haus’ Dance Trax label earlier in 2023. Adding to these is a brand new slice of big-room Techno in the form of ‘Chinwah (Big DJs)’, which will no doubt be pounding its way out of the worlds cooler parties in the coming months with a controversial spoken-word message to boot.

DJ Support:

Horse Meat Disco, Doc Scott, Josh Wink, Pangaea, Joyce Muniz, Benjamin Damage, KE (Kid Enigma), Yung Singh, Anja Schneider (Club Room), Pinch, Tom Findlay (Groove Armada), Elle Clark, Joshua James, Monty Luke, Adam Beyer, Otik, Tom Ravenscroft, Nightwave + Martyn Bootyspoon, Violet, TEED, Addison Groove, Mad Miran, Emerald, Dusky

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

Marjaa: The Battle of the Hotels” is a concept album born of the idea of merging singer & songwriter Mayssa Jallad’s two vocations: music and urban research/architectural history. Written in collaboration with producer Fadi Tabbal, the music builds upon Tabbal’s spatial approach to sound and Jallad’s research on Beirut’s Hotel District. The album is a reference to Jallad’s Historic Preservation master's thesis, in which she detailed the history of the “Battle of the Hotels”, a 5-months battle that took place in Beirut at the beginning of the Lebanese Civil War, from October 22nd, 1975 to March 29th, 1976. Jallad saw architecture as a main protagonist of the battle, as she discovered it was the first high rise urban battle in the world. The close of the battle resulted in the 15-year Green Line, an urban rift which split Beirut into “East and West”, restricting movement and communication and creating a violent divide that still resonates today. The album comprises two parts. Part A: Dahaliz, is a stroll in the city, where Jallad tries (and fails) to follow an old map. Musician Youmna Saba is a companion in this journey of remembering the once winding corridors (“Dahaliz”) of the city, destroyed by new developments since the 1960s. Empty skyscrapers propel her onto a past filled with the violence of snipers, and a present filled with the glamorous injustice of empty luxury real estate endorsed by powerful warlords-turned-politicians. In Part B: Maaraka, Jallad inhabits the building of the Battle of the Hotels, as its events unfold. She calls the fighting militias the Blues and Reds, respectively the Lebanese Front (Christian Nationalists) and the Lebanese National Movement (Pro-Palestinian leftists), leveling the playing field, and drawing a map of the battle through songwriting. Sary Moussa produces the conclusion of the battle in “Holiday Inn (March 21 to 29)”, which ends with the ultimate severance of the city of Beirut. The music caters to post-war youth who have never been taught this difficult history. Once we consider the “Battle of the Hotels” as our common heritage, it provides an opportunity to teach the value of civil peace. It is also a call to protest for the renewal, rather than the recycling of the political class that has once destroyed the country and holds us, to this day, hostage of its violence. Limited edition of 300 copies. 140gsm vinyl pressed at Microforum (Canada).

Michael Chapman (1941-2021) released his debut album Rainmaker in 1969 on Harvest. He went on to release over fifty albums and influence many with his evocative songwriting and guitar prowess. From heady jams to expressive ballads to experimental noise, Chapman’s work continues to inspire. Tompkins Square recruited Henry Parker to curate a collection of covers by working musicians from Chapman’s home turf in Northern England. With stunning artwork by local artist Bunty Marshall mapping the important places in Michael’s life, this 12th volume of Tompkins Square’s Imaginational Anthem series is the ultimate tribute to a very dearly missed artist. Notes from Henry Parker: Tompkins Square approached me in Autumn 2022 about putting together a tribute album to Michael Chapman who had passed away one year ago, on my birthday, in 2021. I remember it well; Michael Chapman had always been a huge inspiration to me since starting out on the acoustic guitar and was the first artist I had heard who played the instrument with that heavy thumb, drop tuned sound. I first got the chance to see him live at the Bradford experimental music festival Threadfest in 2015 and then went on to watch him play many more times, in the northern towns of Halifax, Hebden Bridge and Preston, also getting the chance to support him on a couple of his Yorkshire dates in 2018, in Saltaire and his hometown of Leeds. With both Michael Chapman and myself proudly coming from the county of Yorkshire in northern England, Tomkins Square and I decided to make this compilation decidedly Yorkshire focused, bringing together seven other artists from the county who have drawn influence from the profound music of this man.For those who don’t know, Yorkshire is an area that spans much of northern England, with its people taking great pride in the county, never too seriously, and poking fun at the “soft south” or it’s near neighbour Lancashire. Michael’s sound always spanned from introspective folk songwriting to more experimental forms and naturally so does this album, created for Tompkins Square. When it came to choosing musicians to contribute to the record, I was grateful for the Yorkshire limitation on who I could draw from, as the resulting album is comprised of eight artists, who have all shared stages with each other across the folk and experimental scenes in the area. The lack of “bigger” names on the record feels natural, there’s no ego about this project as there never was with Michael, who always seemed content touring the smaller clubs and making records for anyone who was interested. The artwork for the project came together organically, and firmly within the Yorkshire cottage industry. Two months before I was asked to put this album together, I had played a show in Leeds for the launch of a new zine, centred on folklore and mythology. The artist and founder of the zine Bunty has an exceptional eye for detail and a profound love of Yorkshire landscape and culture. Her intricate maps and illustrations created for ‘Hwaet’ zine were the perfect starting point the for this record, and the cover art and inner sleeve is an ocean of detail for Michael Chapman’s incredible life, music and his connection to Yorkshire

Parallel Minds’ fifth label release is a major landmark for the Toronto-based label. Not only is it their first full length LP, it is also the debut album from co-founder Ciel, who is also making her first solo appearance on the label since its inception.

In 2021, spurred on by a productive creative streak and the economic austerity of pandemic lockdowns, the Xi’an-born and Toronto-based DJ Ciel (real name Cindy Li) applied for grant funding from the government of Canada to write her debut album. Self-proclaimed “DJ first, producer second”, Ciel never thought she would have the self-confidence and desire to write an album. It wasn’t until after spending prolonged time away from clubs & festivals whilst dedicating herself to daily sessions in her studio that she gained the motivation and aspiration to make a musical statement that only an album could express.

Since the start of the covid19 outbreak, Ciel, like many other Chinese diaspora people in the West, had felt a great deal of anxiety and pain at the rise of anti-Chinese sentiment and racism in the media — even in her corner of the dance music industry. Tired of expressing her frustrations fruitlessly online, she felt inspired to channel that into her music, to turn something that was filled with hate into a thing of joy and beauty. It was within this context that Homesick began to take shape.

After researching the rich history of Chinese instruments, a concept began to form around the album in which she could marry her love of sampling and analogue instruments. Using the eight types of traditional Chinese instruments (silk, bamboo, wood, stone, metal, clay, gourd, and hide) as a guideline, Li began writing each track with a focus on one of the eight. She hired traditional Chinese instrumentalists to play the guzheng and the xiao, whilst purchasing and teaching herself the smaller hand drum instruments like the kuaiban (bamboo clappers), and muyu (temple blocks). With the news that she had successfully been granted funding from Canada Arts Council, she wrote, recorded, arranged, and mixed all nine tracks of her album over the first three months of 2022. More than just highlighting Chinese instruments, the music on this album encapsulates so many musical influences from Ciel’s childhood when she began her lifelong love affair with music. True to her style as a DJ, the LP incorporates a diversity of genres she loves, from drum & bass to house, electro to breaks - even downtempo.

What has come out of these sessions is a deeply personal dancefloor record, a true expression of love for Cindy’s culture that came out of a time of relentless chaos, negativity, and uncertainty. Ciel sees her compositions as a distillation of herself — her life experiences, her wide interests and passions, and her often-turbulent emotions. Immersing oneself in the LP feels like listening to the musical confessions of an artist heading towards the peak of their career, who is finally starting to make sense of her artistic identity. What a joy to witness it.
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‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

The Kotiomkin band was born from a great passion for 60s-70s-80s Italian genre cinema, a series of movies characterized by aesthetically innovative approach, in complete opposition to the mainstream and to more or less politicized intellectual cinema of the time The duo are devoted to the creation of instrumental soundtracks for non-existent movies, with invented plots featured in the liner notes, having as a reference the classic soundtracks of the time but revisiting them with the violence of the most modern stoner, pushing the boundaries of doom. It is the rediscovery of a never really finished cinematic world that is also celebrated in terms of its extraordinary soundtracks by musicians such as the masters Ennio Morricone, Nico Fidenco, Fabio Frizzi, Franco Micalizzi, Berto Pisano, Lallo Gori, up to bands such as Goblin, Osanna, Libra, Marc 4 and many others. Kotiomkin not only look at horror movies but also at those more niche genres, ranging from erotic, to "giallo", to "poliziottesco" and more extreme subgenres such as cannibal movies, "mondo" movies or sexploitation, all with a violence of sounds unknown to Italian B-movies.

The Kotiomkin band was born from a great passion for 60s-70s-80s Italian genre cinema, a series of movies characterized by aesthetically innovative approach, in complete opposition to the mainstream and to more or less politicized intellectual cinema of the time The duo are devoted to the creation of instrumental soundtracks for non-existent movies, with invented plots featured in the liner notes, having as a reference the classic soundtracks of the time but revisiting them with the violence of the most modern stoner, pushing the boundaries of doom. It is the rediscovery of a never really finished cinematic world that is also celebrated in terms of its extraordinary soundtracks by musicians such as the masters Ennio Morricone, Nico Fidenco, Fabio Frizzi, Franco Micalizzi, Berto Pisano, Lallo Gori, up to bands such as Goblin, Osanna, Libra, Marc 4 and many others. Kotiomkin not only look at horror movies but also at those more niche genres, ranging from erotic, to "giallo", to "poliziottesco" and more extreme subgenres such as cannibal movies, "mondo" movies or sexploitation, all with a violence of sounds unknown to Italian B-movies.

Since 1983, Justin K. Broadrick (Godflesh, Jesu, Council Estate Electronics, The Sidewinder, etc.) has been producing largely solo, but sometimes collaborative, work under the Final moniker. Beginning as a more obviously power electronics-inspired project it has during the past two decades or so evolved into one which still retains that sonic intensity but has a more expansive sound. I Am the Dirt Under Your Fingernails is the latest album, closely following It Comes to Us All on Alter in July 2022 and the now mostly o/p CD version already released in October 2022. Comprising nine tracks each named and numbered after the album’s title, IATDUYF violently pushes us through a murky world of suffocating textures, crepuscular guitars, serrated noise and what appear to be random bursts of sawmill grind which together create the perfect backdrop to today’s newscape. This is a relentless sound that’s absolutely unforgiving as it hammers home anger and despair with little respite, illustrating very clearly that JK Broadrick has been one of the very few to contort the uncompromising approach of early power electronics into wholly new and contemporary forms rife with greater possibilities.

Minimal don Kepler strikes a balance between dancefloor utility and introspection on his latest record, and debut for X-Kalay. Big house and techno incursions straight out of Yorkshire – Leeds, to be precise. It’s a strong testament to the region’s long standing reputation as a hotbed for late-night minimalism.

Subtle flourishes and details stand out across all four tracks. Uncovering relics from ancient futures, ‘Lowlife’ stimulates the pineal gland with a mescaline-strength take on classic ‘90s tech house. While it dials the trippier elements down just a tad, ‘Control’, like its predecessor, recalls golden era Wiggle or Asad Rizvi under his Silverlining moniker.

No half measures on the next one. Bringing heft in spades, ‘Stranded’ comes hurtling in with swinging, jacking 4 AM NRG. It’s some serious gear, which makes the EP closer such an unexpected left-turn. ‘Need’ offers proper heads-down introspection, complete with widescreen, nebulous chords that ripple out into the vastness of space.

You've always been able to hear the West Coast in Monocoastal, but it's particularly present when you shut your eyes after 12 months of lockdown stopping you from visiting the region. Less active L.A., and more observing in Oregon, Fischer's career didn't end with this in 2011 and the multi-disciplinary artist has produced great things since, but the album is certainly one of turning points in terms of reputation and note.

The idea of slowly watching time unfold in un-rushed places is also highly appropriate. Among the washes of tape and the waves of refrain that make up this beautiful, meditative outing, you'll hear takes and half-harmonies from found instruments including a piano and xylophone. Overall, it feels like a place removed from linearity. A liminal masterpiece, if you are that way inclined.

"Following the superb initial two volumes, Emerald City Nights: Live at the Penthouse Vol.3, captures spectacular 1966-68 performances by the master pianist’s trio at the Penthouse in Seattle. Also available as a 2-CD set and download.
Package includes reflections by Ahmad Jamal himself, interviews with fellow pianists Les McCann, Emmet Cohen, Monty Alexander, and Joe Alterman, and essays by producer Zev Feldman and journalist Eugene Holley, Jr., among others. The extensive booklet features rare photos by Don Bronstein, Chuck Stewart, and more.
Producer and music sleuth Zev Feldman’s label, Jazz Detective, a division of the newly created Deep Digs Music Group, releases the third and final volume of the Ahmad Jamal sets: Emerald City Nights: Live at the Penthouse (1966-68), featuring previously unreleased performances by master pianist Ahmad Jamal.
The 2-LP set will be issued on 180-gram vinyl transferred from the original tapes and mastered by the legendary Bernie Grundman. The music will also be available as a 2-CD set and download. The package has been produced by Feldman and supervised by Ahmad Jamal himself shortly before his passing away in April of 2023."

Exclusive Ten Track Compilation Of Mungo Jerry In Original Mono Mix. Includes Previously Unreleased Versions Of All Their Major International Hits. ‘Mighty Man’ - Original PYE Records Test Audition Version. ‘Lady Rose’ - Previously Unreleased Mono Version. ‘Hello Nadine’ - Previously Unreleased Mono Version. ‘Alright, Alright, Alright’ - Unreleased Version Containing The Third Verse Missing From The Original Hit Single. ‘Long Legged Woman Dressed In Black’ - Unreleased Mono Version. ‘You Don’t Have To Be In The Army To Fight In The War’ - Acoustic And Harmonica Version. ‘Feels Like I’m In Love’ - Ray Dorset’s Original Demo Of Kelly Marie’s Global #1 Hit.

C"mon Tigre, the innovative music collective known for their genre-blending compositions, releases their highly anticipated fourth album Habitat. Drawing inspiration from the concept of an ecosystem where various forms of life, both animal and vegetal, thrive and coexist, the album takes listeners on a sonic journey through the intricate and ever-evolving nature"s theater. C"mon Tigre"s ability to blend inï¬éuences from distant corners of the world enriches their music and visual imagery. The album is deeply inï¬éuenced by rhythms coming from Brazilian tradition, the backbone is rooted in samba, forro, through instruments and tempos that come from this cultural magnificence. However, it retains the African jazz, electronic, and mixed inï¬éuences that have characterized the project thus far. Connecting the dots, the result is a richly layered and genre-defying soundscape. The record boasts a stellar lineup of collaborations. Among these are Seun Kuti, heir to the legacy of the legendary Fela Kuti, whose afrobeat roots infuse the album with a potent and infectious energy. The record also features Xenia Franca, a dynamic Brazilian artist hailing from Sao Paulo, Arto Lindsay, recognized as a pivotal figure in the world of experimental music, Giovanni Truppi and the Californian collective Drumetrics which featured on C"mon tigre"s records since their debut in 2014.

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."

The studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio's members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara "Ish" Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals. After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group's collective intuition to fully shape the melodies and arcs of the music. The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey. Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition. Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. It is the culmination of an emotional and artistic release that was not afforded or recognized before the band sat at their instruments, and because of that it is introspective, meditative, spiritual, and new.

The Roger Webb Sound's Moonshade is one of the coolest records ever. Originally appearing via the legendary De Wolfe library in 1971, it's a sumptuous jazz-soul-funk instrumental set. Full of melodic, melancholic yet sun-drenched songs, rich with colour and contrast, it was composed by self-taught jazz pianist Roger Webb and features vocal performances by Barbara Moore. That's right; *the* powerhouse library music duo! It makes Moonshade the perfect precursor and accompaniment to Barbara Moore's eternal classic Vocal Shades And Tones. It will come as no surprise that original copies, if you can ever find them, will set you back north of 200 notes.

Moonshade is a phenomenal showcase of Brit maestro Webb's own roots in jazz. Those roots are served up here with a plethora of fast-stepping rhythms that truly give flight to the vocals of Barbara Moore, as they soar in wonderful ways. Moore sings wordlessly throughout, allowing her voice to act like another instrument in concert with the horns and keyboards elevating the fine arrangements. This is a deeply beautiful record.

The album opens with the ornate Baroque pop splendour of the sun-dappled melancholia of "Sunshine". Strings, piano and wordless female vocals combine to create this brief beauty of unimaginable grace. The cool "Gentle Eyes" features haunting and beautiful vocals, smooth jazz piano and horns and a general easy vibe without being easy listening, if you know what we mean. You do. Just listen. The pounding "Heavy Lace" is one for the beat-heads, funky open drums (!) with muted organ, bassy piano chords and ace horns. Sampled by Quakers for their great debut album on Stones Throw. The nostalgic "Yesterday" is wistful and beautifully melodic instrumental soul music with gorgeous acoustic guitar and flutes. It's followed by the light, lilting "Petal Soft" which features more Baroque styles, overflowing with flutes and harps. The bright, bouncing "Coaster" is an easy-going piano-led, guitar-driven swinger whilst "Grey Sigh" is another classic. A real highlight, with more fantastic propulsive drums and percussion and plaintive wordless vocals courtesy of Barbara. Speaking of which, the soft, sweet Rhodes jazz of the lilting "Sweet Thing" is another staggering showcase of the brilliance of Barbara. Just astounding.

Head straight past the honky-tonk-by-numbers piano jaunt "Cough Drop" and luxuriate in the soft, delicate beauty of the album's melodic, cyclical title track, "Moon Shade". Fragile flutes and acoustic guitar float across judicious bass notes before giving way to slightly ominous piano and, again, those beguiling wordless vocals. And then round again to the flute refrain of the intro. This time with the vocals to see us out. Majestic drama jazz at its finest. The cello-and-flute adorned "Sapphire" is a fluid orchestral beauty whilst "Interweave" rides with more urgency in its string and bass stabs. When the warm keys enter, it's a bonafide mellifluous wonder. The softer "Musette" begins in beautifully gentle fashion before pivoting for a driving yet elegant piano middle section. It reverts back to the mellow intro, for its outro. Understood? The melodic organ and prominent rhythm section running through "Reminiscence" makes for a delightfully understated folk-funk instrumental whilst the cool, rolling piano feels of "7.30 For 8.00" seem to perfectly suit the phrase "dinner jazz". It's no bad thing, c'mon. This classy, memorable set is rounded out by the half-minute mince of the Barbara-blessed "Sparky". It's just over too soon!

The audio for Moonshade has been brilliantly remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Detroit producer Apollo Brown has made a name for himself as one of Hip-Hop’s most legendary new producers while maintaining a golden era sound. His production credits are a who’s who of Hip-hop greats from Danny Brown to Ghostface Killah, Ras Kass to Westside Gunn. Even Chance the Rapper used a pair of Apollo beats on his debut mixtapes. Known for bringing the best out of musicians, Apollo has a knack for making timeless classics. Brooklyn’s Joell Ortiz started on none other than Dr. Dre’s Aftermath label and built a huge buzz in the industry. He’s worked with legends like Just Blaze among others. He then signed to Shady Records as ¼ of the supergroup Slaughterhouse. He’s worked with Hip-Hop titans Eminem, Busta Rhymes, Jadakiss, Akon, and Big Daddy Kane. Now the pair of Hip-hop luminaries are celebrating the 5 year anniversary of their first collaborative album on Mello Music Group with a deluxe edition including 2 new songs. It’s nothing short of a masterpiece: Mona Lisa.