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Defined by a riveting array of Caribbean rhythms, Etienne Charles's first album featuring his big band arrangements is a personal triumph, but Creole Orchestra is also part of a much larger Story. Drawing on material from several different commissions and projects, the album encompasses the key players from Charles's band Creole Soul and features special guest vocalists Rene Marie and Brandon Rose, plus DJ Logic (turntables).

Blood Smoke Vinyl. The Instrumental version of the underground classic El Michels Affair & Black Thought collaborative album Glorious Game When Leon Michels and El Michels Affair released their ­rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later_all while producing for some of the biggest names in the industry_Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two ­rst met in the 2000s when Thought was ­rst getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective_Dave Guy on trumpet and Ian Hendrickson-Smith on sax _are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most

Repress! Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. This rare and long out-of-print album features Scott leading a stellar lineup of sessions players—Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them—through warm, smooth versions of songs by The Beatles (“She’s Leaving Home”), Donovan (“Mellow Yellow”), Joan Baez (“North”) and Jefferson Airplane (“Today”), which many will recognize from it’s sampling in the Pete Rock & CL Smooth classic “T.R.O.Y.” Resurrected, refurbished and remastered by the talented folks at Get On Down, Scott’s debut record sparkles with a high quality digital audio transfer from the original master tapes and is packaged in a gatefold paste-on case with a dust sleeve and obi strip. Don’t let this “Breeze” pass you by.

"Moon Mirror, Nada Surf’s new record, has everything fans love and expect from them. Bittersweet anthems that begin quiet but explode into soaring harmonies? Check. Songs that are play-on-repeat heart punches? Check. Songs that are poetic and thought-provoking while also being absolute belt-at-the-top-of-your-voice-with-the-windows-down masterpieces? Check. It’s all here.

For the past 30 years, Nada Surf has had the same core lineup: Matthew Caws, Daniel Lorca, and Ira Elliot. Moon Mirror, their first for New West Records, was produced by the band and Ian Laughton at Rockfield Studios in Wales. For the recording, Matthew, Daniel, and Ira were joined by their friend and longtime keyboard player Louie Lino.

Moon Mirror is a thrilling and moving leap forward for Nada Surf. The songs on the album are true to the human experience—as meaningful and mysterious and sometimes absurd as it is. There’s love, yes, but also grief, deep loneliness, doubt, wonder, and hope. These are not the songs of a band in their 20s. There is hard-won wisdom here, and hard-won belief in possibility—the kind that comes from falling down and getting back up."

Formed in 1995 in the small Swedish city of Mariestad by key players from Sweden's legendary hardcore scene, Wolfbrigade (known as Wolfpack until 1999) remain among Scandinavia's most respected, influential and reliable purveyors of real-world brute-force hullabaloo. On this eleventh album, the niftiest skills honed to a fine edge over 30 years are dispatched with greater style and intensity than ever.

Tramp Records International proudly presents: The 1975 Baltimore Colts Glenn Doughty and his All-Pro Shake & Bake Band! In 1975 Glenn "Shake & Bake" Doughty Wide Receiver for the Baltimore Colts formed the Shake & Bake Band. Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

Doughty is a Detroit 'Motown' native and All-American from the University of Michigan, that was recently crowned national champion and the winningest college football program in NCAA History. Doughty and his four world-class athletic teammates formed the heart of the band. The Shake & Bake Band in the mid 70s played live at Baltimore's hottest Clubs with teammates in attendance on Monday nights after Shakin' & Bakin' their opponents on Sunday at Memorial Stadium. Doughty's sports hero was Muhammad Ali. He originated the popular Shake & Bake athletic movement scoring touchdowns. He recited Shake & Bake poetry like Ali to make predictions after games on local and national TV to celebrate Colts victories. His lyrics in his music were used to fire up thousands of his Colts fans and his teammates. Many fans felt the group sounded like WAR the popular funk group from California. Members of the Shake & Bake Band were: Glenn "Dr. Shake" Doughty #7, All-Time Colts leading Wide Receiver, producer, lead singer, congas and lyrics, Ray "RC Cola" Chester, All-Pro Tight End, Super Bowl Champion, Bass, Baltimore, Maryland, David "DT" White, Wide Receiver Lead Guitar, producer, sound technician. Buffalo N.Y., Lloyd "The Bullet" Mumford, Defensive Back Harmonica, Miami Florida, Freddie "Bones" Scott, All-Pro Wide Receiver on percussion, Grady Arkansas, and Bruce "Turn it Loose" Barnett, Drummer and shoe salesman. Randallstown, Maryland. This group of talented stars lead the Colts to its first ever three consecutive Eastern Division Championships.

Between 1975 and 1977 they also became the first group of pro athletes to create two records while playing football together for a NFL team. Their debut 7-inch single from 1976 was cut at 33 1/3 RPM due to the length of the songs. "Shake and Bake Pt.1" lasts for 4:30 minutes while Part 2 stretches out to an incredible 7:00 minutes!

Additionally, "Shake and Bake Pt.1&2" will be featured on the forthcoming "Movements Vol.12" compilation album, due September this year.

Key selling points:

- limited to 500 copies!

- deluxe picture sleeve edition!

- official re-issue, done in cooperation with Glenn Doughty!

- Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

The Petersons’ were a vocal trio from Waycross, GA, their performing name came from their founder, lead vocalist and drummer Kenneth Peterson, along with Keyboard player Salem Chatman and vocalist/bassist Johnny Members. The trio regularly performed shows along America’s East Coast, and it was while working in Philadelphia during early 1973 that the group answered an advertisement in Billboard Magazine quote “Masters Turned Down? We Are Looking for New Acts to Sign, Contact Omega Sound Productions, Philadelphia, PA”.

Omega Sound was a fledgling independent Recording Company formed by Frank Fioravanti a budding songwriter and former Encyclopedia Britannica Salesman for the initial purpose of find some extra work for the musicians of The Philadelphia Orchestra who were looking to earn some side money. As a result of answering the Billboard advertisement ‘The Petersons’ found themselves booked into Frank Virtue’s recording studio to record two Fioravanti and the late Alan Felder penned songs, the up-tempo “What’s It Gonna Be” backed by the melodic “Just What I’ve Been Looking For” Mel Omega (1833). With the release failing to make much noise, The Petersons returned to their native Georgia where they continuing to perform and record but under the group name of ‘Toll Darkness’. Fast forward circa 30 years and a couple of copies of this obscure Mel Omega 45 was introduced into the UK by Soul Bowl’s John Anderson where they gained belated recognition initially at the Soul Essence Weekenders through resident DJ Steve Guarnori with “Just What I’ve Been Looking For” being his chosen side. These initial copies had a paper sticker on them crediting the Artist as ‘Toll Darkness’ but the subsequent find of further copies with no sticker coverings, revealed the real artist to be ‘The Petersons’, intriguing? The reason behind the differing artist names is reputedly assumed to be that Ken Peterson took some copies of the Mel Omega 45 back to Georgia and pasted the ‘Toll Darkness’ group name stickers over the Petersons label credits to enable him to sell them at shows with his other ‘Toll Darkness’ 45 “Party/Love Makes Me Do Foolish Things on Alpha Records. The up-tempo backing track of The Peterson’s “What’s It Gonna Be” was a Frank Virtue arrangement that he had great faith in, hence it’s usage on plethora of other Philly artists recordings, i.e. Fred Mark, Liza Mae, Michael Christian, Cody Michaels etc over different record labels, Melomega, Concept, Fox Century Plaza and Merben.

Frank Fioravanti also founded the Sound Gems label which brought us the timeless classic “Your My Main Squeeze” recorded on the New Beford, MA group ‘Crystal Motion’. Omega Sound’s most notable achievement would be William DeVaughn’s 1974 hit “Be Thankful For What You Got”.

Released in 1981& the last in a decade-long run of Top 50 R&B albums, ‘The Electric Spanking Of War Babies’ was the band’s twelfth studio LP & featured several players new to the Funkadelic line-up, notably Sly Stone. With its allusions to the Vietnam War & US imperialism, George Clinton’s project was destined to court controversy from the start, not least for its uncompromising sleeve art which original label Warner Bros. censored. Described by Robert Christgau as “the solidest, weirdest chunk of P-Funk since one nation gathered under a groove” & originally conceived as a double LP, many tracks saw release on Clinton’s later P-Funk projects. Arguably, it is better for having been précised down to a single album while still spawning two hit singles, the title track (US R&B No. 60) & ‘Shockwaves’ (US R&B No.53). FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Hittin your decks in 4 weeks time on a Cannonball Records' 7"/45rpm, “U need me” by the LA Propinquity surfaces as part of a body of productions initially meant to be put out all together on an album. As often seen, for many reasons this didn’t happen and we are offered the privilege to release it on our flagship label first time ever. A modern soul dancerof the highest order out of a couple of premium recording studios in Los Angeles (included Hit City West with award winning engineer Avi Kipperat the controls) by the hands of Maestro Sanifu Hall and his Aljoni Music Co. featuring what could easily be defined the L.A. Dream Team of musicians, to include the infectious groove of drummer supreme James Gadson (previously featured also on our long sold outs with Mike James Kirkland) and many other stellar players from the area. I know I’m a weirdo so, to my taste, the most remarkable stuff sits on the flipside. Sanifu’s slick instrumental arrangement enriched by the flute of Todd Del Giudice, seamlessly in and out from the verses, makes it a sublime slice of original Soul Jazz from the late 70’s. Actually we really struggled to put this version on the back up side of this release as, with that hint of west coast fusion, it’d be worth a main side on its own. Just listen to both versions, judge by your excellent selves and make your move accordingly. Full links and presale details on our website for your consideration. ***The full cover above is an artwork done exclusively for digital & social media promotion.

Cantoma’s new album, “See In The Sun” feels like the welcome return of an old friend. This sensation perhaps reflecting the recording, which found Phil Mison working with a team of trusted talent. More than 20 singers, players and engineers were involved , including Quinn Lamont Luke , Luna Asteri, Robin Twelftree , Justin Drake , Andre Espeut, Robin Lee, Patrick `Dawes, Gizelle Smith and Audun Waage. Collectively they’ve created 10 tracks - joyful jams between accordion, flute, and kalimba, Reeds, orchestral strings, brass, bongos, and Spanish guitar.

The LP possesses fewer introspective moments than its predecessors. The music, on the whole, is moving its feet. Making its way toward a twilight dance floor. There’s also an emphasis on “proper” songs. Lyrics are sung, and spoken, in English, Spanish and Japanese. Their predominate themes are friendship, togetherness and love.

Unashamedly optimistic in its outlook, “See In The Sun” seems to wish only the very best for everyone. Phil says he never planned it that way, it just happened. Perhaps a consequence of all the friends gathered. However, this message comes at a point when the world is poised, hoping, more than ready for positive change.
Robert Harris - Ban Ban Ton Ton.

LRK are excited to announce their latest limited edition 45 (LRK-28) release:

Dylan Chambers - I Can Never Get Enough/Comin' Up

Dylan Chambers is a vintage pop/R&B/soul singer, songwriter and guitar player from Arlington, TX. After graduating high school, Dylan got accepted to the Berklee College of Music in Boston but ended up moving to LA to work on his music career. He has since shared the stage and worked with numerous artists such as Haley Reinhart, Brett Young, Sabrina Carpenter, Gavin DeGraw, Dave Koz, Three Dog Night, etc. and toured around the country with ABC's hit television show "Dancing With The Stars" as a featured singer/guitarist on their 2014-15 National Winter Tour. For the past five years, Dylan has traveled around the world as a guest artist aboard the "Dave Koz and Friends" Live at Sea Jazz Cruise. As a songwriter, Dylan co-wrote jazz legend Herb Alpert's first single "Skinny Dip" off of his album, "Slow Down Turbo" for Indonesian rapper Rich Brian as well as country star, Brett Young's "Kiss by Kiss". Live TV appearances include the Radio Disney Music Awards, Access Hollywood, Hallmark's Home and Family, and The Today Show.
Since 2020, he has released over a dozen singles as a solo artist which he co-produced with longtime friend and musical collaborator, Stefan Lit (Lil Nas X, One Direction, Andy Grammer). Throughout the years, he has shared the stage with Flatland Cavalry, Charley Crockett, Molly Tuttle, Haley Reinhart, Sabrina Carpenter, Delvon Lamar Organ Trio, and Prep. As a songwriter, Dylan has written tracks for UMI and Rich Brian, and he's also collaborated on singles with Cory Wong from Vulfpeck, G. Love and Special Sauce, and Alex Lambert

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

Isik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in intuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-as-possible. "The songs on Moon in Gemini don't mind being slower or taking their time to reach the listener," says Isik, who wanted the title to speak to the album's dreamy, liminal nature. "I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously," he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow. Looking to the more recent past, Isik found himself wanting to build upon some of the methodologies and textures explored on his 2022 album in february, seeking a newly intimate, vocal-forward sound. He points to the track "film festival" from that album as a door through which to enter Moon in Gemini, where sample-based arrangements are presented in the context of asymmetrical "build ups and progressions" and ambience and vocals intertwine. Inspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. Captured at his aunt's farmhouse in Amasya during an extended three week recording session, we find Isik's vocal high in the mix, front-and-center and on newly expressive terms. As a songwriter, Isik is an intuitive and playful lyricist who allows his deep love of literature to flow through his off-kilter texts. Here, echoes of Silvina Ocampo's poem "Dialogues of the Silence" reverberate from the margins of "Most Beautiful Imaginary Dialogues". Likewise, Elliott Smith and Virgina Astley shapeshift through "Behind the Flowerpots," some lines of which were based on misheard lyrics from Smith's "Stickman" and Astley's "Some Small Hope." Attuned to the magic of happy coincidences, other unexpected "themes and connections between tracks flourished" during the recording process, resulting in some songs being more "thematically and lyrically connected to each other compared to previous records." The duos "Prelude" and "Interlude" as well as "Grown One Iota" and "After a Rain" explore connected stories, while "Almost a Ghost" and "Behind the Flowerpots" serendipitously emerged out of a conversation with Stephanie "Spefy" Roxanne Ward, whose balmy vocals heard highlighting in february return and call out to Isik's in sweet dialogue. Plumbing these new potentials of structure and songwriting, Isik also developed a taste for an expanded sonic palette, one enriched by the lulling undertones of live woodwinds and strings. The resulting collaborations with flutist Tenzin Stephen, harpist Kirstin McCarlie and clarinet player Giulia Tamborino envelop the record in an altogether "dreamier sound," swaying pastel and awash in lunar light. Moon in Gemini, brimming with natural imagery and lullaby-inflected tones, tunes into states of being where the wonder filled sound of everyday is heard and felt, perfectly imperfect in its poetry; where the invisible steps forward; where dauntless ghosts wait around every corner and play enriches the soul; where bird song fills sun-soaked afternoons and carries us on its wings into each enchanted evening. Isik Kural's Moon in Gemini will be released on vinyl, Japanese import CD, and digital editions on September 6, 2024. On behalf of Isik and RVNG, a portion of the proceeds from this release will benefit Mor Çaty Women's Shelter Foundation, whose social work at their solidarity centers and shelters supports women building lives unhindered by gender-based discrimination and male violence under free and equal conditions.

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

The core members of Jaubi are true masters of their craft, coming from a rich lineage of accomplished musicians. Kashif Ali Dhani is a classically trained tabla master from the Punjab gharana, and is the accompanist of choice on the local scene for some of Pakistan's great classical vocalists and instrumentalists, as well as in Europe and the USA. Zohaib Hassan Khan is a 7th generation sarangi master, who has performed globally, and is one of only 3 professional sarangi players left in Pakistan. Multi-instrumentalist, composer and Jaubi bandleader Ali Riaz Baqar aka Ila Zair began his musical journey as a hip-hop enthusiast, evolving into a jazz guitarist following the exposure to the genre’s rich sampling culture. He then became a disciple of the Senia-Shahjahanpur gharana, a lineage of musicians specialising in the sarod. His playing now focuses on merging North Indian classical music with modern jazz harmony on a traditional, unaltered 6-string electric guitar.

The collaborative relationship between the core group and wider collaborators dates back to April 2019, when 22a label founder and multi-instrumentalist Tenderlonious and EABS/Bloto keyboard and synth maestro Marek ‘Latarnik’ Pędziwiatr travelled to Lahore, Pakistan to take part in some improvised recording sessions with Jaubi. Nothing whatsoever was written down during the recording sessions – no sheet music, no song titles. It was sincere, bottled lightning. All egos were left behind, with hearts and souls being opened and poured into the music. The result has been described as spiritual jazz-fusion meets psychedelic Hindustani classical with nods to golden era hip hop.

An adventurous and absorbing record ‘A Sound Heart’ is the next chapter for Jaubi, both sonically and spiritually. The title is inspired from a verse in the Holy Qu’ran (26:89), where one comes to God with a spiritual or sound heart (Qalb) which is sincere, without doubts and free of materialistic attachments. Importantly it refers to a state where the heart is spiritually healthy and content with only God. A Sound Heart’s basis is goodness, rooted in love. In this case, it is the love for one’s creator. The album also acts as a tribute to fallen heroes, paying respect to the greatness that has come before, casting new light via cross-cultural collaboration and improvisation.

Throughout this incredible journey, meditative ragas blend with Herbie Hancock-esque motifs, joined by lament-filled contemporary melodies intertwining with the intricate sounds of the sarangi and earthy layering of the tabla. A true masterpiece of composition from start to finish.

PM Warson returns with the new album "A Little More Time". Having established himself as "one of the leading lights on the modern-day R&B scene" (Shindig! magazine UK), his third long-player represents an expansion of his mid-century vision. Less a departure, more an arrival, the album moves beyond the R&B revivalism of his previous work, taking in a breadth of styles and moods within its distinctly '60s sonics.

Recorded at Lightship 95, London's floating analogue studio, the 10 original tracks combine the direct feel of live performance, alongside a developed songwriting and production approach. The album is led by the second single (following "Right Here, Last night") and title track "A Little More Time" setting the tone with a dose of sweeping vintage pop and uptown soul. "For this record I wanted to channel the sound I'd developed playing live with a band, while at the same time further exploring my songwriting. I allowed my wider influences to permeate a bit more and placed the vocal and lyric more forward in the songs" PM Warson says.

PM Warson is a UK musician, songwriter and producer. He emerged in 2021 with the album "True Story", after a series of DIY vinyl releases. Breakout single "(Don't) Hold Me Down" surfaced initially among soul collectors (with the original release clocking in at over $200 on collector sites), before finding a wider audience on European radio and streaming platforms.

With touring opportunities limited due to the ongoing pandemic travel restrictions, he turned his attention to a quick-fire follow-up. The lean, brooding "Dig Deep Repeat" was released in May 2022, led by the single "Leaving Here". Extensive tour and festival dates throughout Europe followed, where he gained a reputation as an impressive live act, performing alongside the likes of Cedric Burnside, Robert Finley, Nick Waterhouse and GA20.

After a run of dates in France, and an appearance at the legendary 100 Club in London, he set about working on new music during 2023. Having released the single "Right Here, Last Night" as a 7inch vinyl on his own Acid Jazz-distributed FYND marque, he teams up again with Légère Recordings for his third album, the expansive "A Little More Time".

`Think Differently' is the debut LP by the duo of Callahan & Witscher. Jeff Witscher has been one of the most daring voices in underground American music for two decades, highlighted by releases on Pan and NNA Tapes. Jack Callahan's focused, uncompromising approach to sound caught the attention of both Demdike Stare's DDS label and Swiss composer Jürg Frey, who took Callahan on as his first composition student. Fans of their individual work might expect opacity, disruption, or rhythmic irregularity from their collaboration, but `Think Differently' sounds like a pitbull in a convertible, a sand-kicking beach party, the dopamine hit you get from 311 or Smash Mouth. It's a punchy, crunchy, highly infectious record. How did Callahan & Witscher cut the path from the ghostly margins of avant garde musics to the gutters of post-grunge American hard rock? In the words of Callahan, "at some point, you start to need a stronger drug." The most potent characteristic of this stronger drug is the guitar. And not just any guitar, but a sassy, contagious, blithe guitar. Its presence is a drastic shift for two guys who've combined to make dozens of records over the years, not a single one of which has a recognizable guitar sound on it. Alongside the cool breezes and hyperactive fretwork of Callahan's guitar playing, the songs are backboned by strutting, groove-happy vocals: all bark, all bite. Every song is a careful collage, light but dense, ornate with gang choruses, soulful femme vocals, autotune and whisper scratches. This accumulation almost manages to hide the record's potent undertow of dread. `Think Differently' unfolds carefully, a slow-motion demolition that reveals the anxiety of second guessing, the exhaustion of tour, creative bankruptcy, willful misunderstanding, the pain of caring. Setting this lyrical cynicism against such sonic glee isn't a spoonful of sugar, it isn't a bait-and-switch, it isn't a prank. After all, the dumb bliss of Sugar Ray's "Fly" shades a song about Mark McGrath's mom dying. "All Star" is about climate change. Most Sublime lyrics are a bummer. But there's still room for a raised beer, for a dumb grin. Like these ancestors, Callahan & Witscher aim at maximum uplift, at sounds that warm and dazzle like a sped-up sunrise. In spite of overdraft fees, in spite of bad art, in spite of self-doubt.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after its release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs. Key collaborators on the albums include bass player Jonathan Harvey and pianist Steve Pringle, both members of Margate’s burgeoning Arts scene. Thandii escaped London nearly a decade ago, their sights set on creating a means for prolific expression, without the distractions that the city can bring. The albums find them in an exploratory stage, throwing paint at the canvas with joyful abandon, gifting themselves permission for uncensored expression. The LPs muse on relationships - romantic, platonic & familial - community, self-worth, self love, healing and boundaries, at times from differing perspectives. This contrast of opinion makes for rich listening throughout a vast emotional landscape

On their seventh long player The Breaks - their second for Joyful Noise Recordings - SUUNS are lost in limbo. For some artists, being caught in flux may result in songs that are either naive, out of touch or both, simply as a consequence of being cut off from human civilization. But for SUUNS, a band who have grown more than comfortable in the oblique and the intermediate, it actually had the opposite effect. The Breaks marks the Montreal experimental rock outfit's most emotionally resonant and tonally rich collection of music to date. The trio of Ben Shemie, Joseph Yarmush and Liam O' Neill leans more zealously than ever into their pop instincts. Yet remarkably enough, with that same dauntless abandon, SUUNS have mined a more extreme sonic palette this time around, one that stretches far beyond their core fundamentals as a band. The Breaks finds Shemie, O'Neill and Yarmush gleefully experimenting with loops, synths, samples and MIDI-instruments like a post-millennial Tangerine Dream messing with downtempo triphop beats. O' Neill took point in the producer's chair for The Breaks, arranging, structuring and editing many of Shemie and Yarmush's ideas from sporadic rehearsal sessions into Pro Tools, reimagining the songs over and over during a two-year time frame. Forged between countless plane rides, road trips, van tours and text threads, The Breaks became a product of endurance and a lot of trial-and-error. It's a record forged in tight fissions of freedom, where spells of whispered intimacy - like on the stunning ballad "Doreen" - are allowed to branch out into the vast glacial dreamscapes of the album's majestic title track. It captures SUUNS at their most panoramic, curious and exuberant: a constant relay of being adrift and enlightened anew, geared up to eleven. And guess what: the wheels keep on spinning.

Hidden Notes Records (Spindle Ensemble, Fran & Flora, Josh Semans) and Tardigrade Records (Cosmo Sheldrake, Howl) are excited to announce a unique collaboration to release ‘Selected Worlds’, the monumental and ambitious debut triple album by composer and pianist Daniel Inzani. Over the past 2 decades you might have seen Inzani performing with dozens of bands from Bristol’s underground alternative and avant-garde scene, blending classical, jazz, contemporary, improvisation, unusual harmony and rhythms as a band leader and collaborator. He’s released an avant-garde collaborative album with Alabaster dePlume, is the musical director and arranger for Cosmo Sheldrake’s 19 piece live band, leads his own critically acclaimed modern chamber quartet Spindle Ensemble and (the now disbanded) 8 piece Ethiopian Jazz meets Frank Zappa group Tezeta, He has toured worldwide as a keys player, collaborated with Canadian ensembles Evergreen Club Contemporary Gamelan and London Symphonia and co-founded Bristol’s experimental collective Bloom, leading to tours and releases with UK rocksteady favourites Count Bobo, the psychedelic space doo-wop of Dubi Dolzcek and many more. After years of recording, touring and eclectic composing he has gathered a trusted set of musicians who are both skilled improvisers and virtuoso players to record an instrumental triple album for release under his own name. The 3 vinyl discs act as albums in their own right, each with different sets of musicians, instrumentations, genres and intentions. The 3 discs were recorded live over 3 day periods in quick succession, with Daniel’s regular collaborator Cosmo Sheldrake engineering the recording sessions. It’s quite possibly the only album you’ll ever hear that starts with a neo-impressionist string quartet, goes on to merge avant-garde symphonic arrangements with group improvisation and ends with an 8 piece cosmic jazz band wigging out, yet Inzani’s voice is clear throughout making for a cohesive 2 hour odyssey from the mind of a composer whose idiosyncratic style thrives through variety Listeners will hear influences from the aforementioned composers including Mingus, Tsegué-Maryam Guèbrou, Ravel and Moondog in Inzani’s music but might also find the soundtracks of Morricone and Jonny Greenwood nestled alongside the loose freeform leanings of Alabaster dePlume, the contemporary jazz of Kamasi Washington and the unique collaboration by Floating Points and Pharoah Sanders (minus the electronics perhaps.) Daniel will be performing a special preview of the album with an 11 piece band at WOMAD Festival (27.07) and a launch concert at this year’s Hidden Notes Festival in Stroud (21.09), with further tour dates to be announced

Pour Un Homme Seul, the debut EP from Pete Beardsworth, is a cathartic exploration of the spiritual world of jazz and the healing force within. Originally just simple melodies jotted down in the back of a small leatherbound notebook, the songs were written during a long period of solitude in the year following a traumatic accident that left Pete without the bottom parts of his legs. Charting a journey of hope and rediscovery, the tracks are aural fragments of a voyage through a harsh, personal wilderness, and back again to civilization and consciousness. This voyage is painted with woodwind, electronics, vocals, found sounds, and synthesizers provided by Pete.

Accompaniments by renowned Erhu player Ling Peng, Yazmin Lacey's drummer Tom Towle, guitarist Roshan Gunga, bassist George Butt, and vocalist Daisy Godfrey. It follows long-standing collaborations with Yazmin Lacey, for whom Pete produced EPs Black Moon and When The Sun Dips 90 Degrees, the genre-crossing Invisible Orchestra, Brooklyn's own Chris Rock, and work as part of free-jazz inspired electronic outfit Three Body Trio.

A new player has entered the game. The Austrian born Borghese delivers the next 12” in the Squid Recordings series, a deliciously curated palette of club music programmed for the Euro-mind and beyond.

The five tracks, all bubbling though various stages of analog circuitry, are a sonic sampler in the young producers archives. From Aside opener “Cruel Carbo’s” twisted techy drumwork, to the freaked out breaks sprinkled throughout “Are You Ready?”, SR003 is as serious as it gets. No filler all killer.

Hejira is the eighth studio album by Canadian singer-songwriter Joni Mitchell, released in 1976 on Asylum Records. Its material was written during a period of frequent travel in late 1975 and early 1976, and reflects Mitchell's experiences on the road during that time. It is characterized by lyrically dense, sprawling songs and musical backing by several jazz-oriented instrumentalists, most prominently fretless bass player Jaco Pastorius, guitarist Larry Carlton, and drummer John Guerin.

Rio-born, Joyce Moreno, is one of the greatest Brazilian artists of all time. The voice, the playing, the writing, they all combine to make her a true allrounder. She possesses the ability to transport, captivate and transcend listeners. With a career that has spanned more than 30 albums and over 50 years, she continues to record and tour the world.

‘Aldeia de Ogum’ is one of her most well-known songs. With a joyfully jazzy arrangement, building Latin percussion, Brazilian flute and tropical atmosphere, this full-bodied samba smash became an anthem amongst London’s DJs and dancers in the Acid Jazz days. A favourite of Patrick Forge and Gilles Peterson, it was regularly spun at their legendary Dingwalls sessions.

Originally featured on her sought after Feminina LP from 1980, it also appears on our 'Essential' Joyce compilation from 1997. The original pressing of this Brazil 45 was the first time the track had been released on 7".

A fellow Rio native, Rosinha was a highly acclaimed composer, arranger and guitarist who played with legends including Baden Powell, Sérgio Mendes and Sivuca.

Here we present her stunning cover of the Gershwin classic, ‘Summertime’. Rosinha’s elegant, instrumental interpretation showcases her majestic guitar playing, and what a player she was! Backed with beautifully arranged, emotion-drenched strings, this track is guaranteed to stir your soul.

'Summertime' is taken from her 1975 RCA LP entitled Um Violão Em Primeiro Plano. The original pressing of this Brazil45 was the first time the track had been released on 7".

Remastered with refreshed artwork.

2024 Repress

Following the Recent Dip Into the Theo Parrish Archives That Was the Twin Cities, Phil Weeks' Robsoul Imprint Looks to Another One of Detroit's Adopted Sons in the Form of Rick Wade. Like That Recent Parrish Reissue, Weeks Re-Releases Another Three Tracks From Wade's Bulging Discography. the Upbeat Disco Loops of "Players Theme" Was Originally Released on French Label Funky Chocolate in 2002 and Still Sound Fresher Than Anything Being Plied by the Soundcloud Dwellers Today, While "Can't You See" From 2003 Provides a More Soulful Take on House Music. on the Flip, the Tracky Funk and Cascading String Melodies of "I Feel Good" Originally Graced Wade's Own Harmonie Park Imprint in 1998, but Sound No Less Vital Today. Essential....

At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.

PYJÆN is the reflection of 5 souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN’s story will be expressed not only musically but also with other visual arts.

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Consisting of guitarist Dani Diodato, trumpeter Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott’s as well as playing Glastonbury, Love Supreme and Brainchild Festival.

Described by Jazz Wise Review as having “a groove propelled with dynamism and formidable technique”, PYJÆN seamlessly meld funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music.

Their debut self-titled album ‘PYJÆN’ was released on 20th September 2019, both digitally and physically with 300 limited copies of Vinyl being distributed across selected UK record stores, as well as Bandcamp.
The album will also be supported by a graphic novel, which will tell the story of PYJÆN and the influences and stories behind the songs.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

OVERVIEW KEEP OF KALESSIN - KATHARSIS is set to be released in March 2023! via Morningstar Music & Back On Black Records, Distributed by PlasticHead Distribution. KEEP OF KALESSIN return with their most epic work to date! The pioneers of Epic Extreme Metal have crafted an album that will hit both hard and direct as well as challenge the listeners with its rich detail and enormous atmosphere. Epic and melodic. Extreme, yet diverse. Intense, captivating and simply grand in every form! KATHARSIS marks a new era for a band that has proven to continue to make metal of the highest quality despite facing many challenges and lineup changes along the way. 2017 would leave the band without a drummer and it would take KEEP OF KALESSIN a few years to get the new lineup together, but these changes have given the band renewed energy and main man Arnt Obsidian now leads what is probably one of the most powerful bands in Norwegian metal. And together they have crafted an album that is so epic and so diverse that it has the potential to capture listeners from the entire spectrum of the metal genre. KEEP OF KALESSIN longtime bass player Wizziac and one of the most well known YouTube metal drummers, Wanja "Nechtan" Groeger, complete the lineup for KATHARSIS and the band sounds more mature and powerful than ever. As EPISTEMOLOGY was Arnt Obsidian's first take on vocals and frontman of the band, KATHARSIS proves that he is not only one of the fiercest riffers out there, but now also one of the most diverse singers. KATHARSIS is simply an amazing journey exploring everything from the most empowering emotions to the deepest fears and darkest thoughts. It is a life journey explained, battling both outside challenges and inner emotions. All this set in epic otherworldly surroundings. It is the rebirth. The resurrection. The purgation. The battle of leaving the old and embracing the new. It is the musical embodiment of you against you!

KEEP OF KALESSIN return with their most epic work to date! The pioneers of Epic Extreme Metal have crafted an album that will hit both hard and direct as well as challenge the listeners with its rich detail and enormous atmosphere. Epic and melodic. Extreme, yet diverse. Intense, captivating and simply grand in every form! KATHARSIS marks a new era for a band that has proven to continue to make metal of the highest quality despite facing many challenges and lineup changes along the way. 2017 would leave the band without a drummer and it would take KEEP OF KALESSIN a few years to get the new lineup together, but these changes have given the band renewed energy and main man Arnt Obsidian now leads what is probably one of the most powerful bands in Norwegian metal. And together they have crafted an album that is so epic and so diverse that it has the potential to capture listeners from the entire spectrum of the metal genre. KEEP OF KALESSIN longtime bass player Wizziac and one of the most well known YouTube metal drummers, Wanja "Nechtan" Groeger, complete the lineup for KATHARSIS and the band sounds more mature and powerful than ever. As EPISTEMOLOGY was Arnt Obsidian's first take on vocals and frontman of the band, KATHARSIS proves that he is not only one of the fiercest riffers out there, but now also one of the most diverse singers. KATHARSIS is simply an amazing journey exploring everything from the most empowering emotions to the deepest fears and darkest thoughts. It is a life journey explained, battling both outside challenges and inner emotions. All this set in epic otherworldly surroundings. It is the rebirth. The resurrection. The purgation. The battle of leaving the old and embracing the new. It is the musical embodiment of you against you!

Milky Clear Vinyl. Aprender a Ser: Extended is an EP by Mexico City band Mint Field. It was recorded in the same sessions as Mint Field's latest album, Aprender A Ser. Mint Field decided to split the work into an album and an EP as they felt it was too dense for a double album and wanted these songs to co-exist in another space and have its own time to shine. As with Aprender A Ser, the EP incorporates influences from shoegaze, trip-hop, dream pop and electronic music. The final track includes longtime friend and cello player Mabe Fratti to play Cello. Time. It's something we tend to cherish. As a band, you're typically thrown into more than usual stressful scenarios when recording albums and rushing decisions becomes the norm. Mexico City's Mint Field knows this all too well. Rewind to the spring of 2020 (yes, Covid). The band started fleshing out their new album Aprender a Ser (meaning Learn To Be in English), the follow up to 2020's minimalist psych/ shoegaze album, Sentimiento Mundial. For the first time, the band was not under any time constraints in the recording process. They wrote, recorded, produced and mixed the album in isolation. They had time to slow things down and think more obsessively about the sound, environment and vibe they wanted to create. Aprender a Ser became really intimate, every single detail was meticulously worked on. Mint Field recorded take after take, but at the same time tried to keep the soul of the demos intact. Some of the guitar and drums are first takes in the final versions. The band would let a recording sit, leave it and come back to it. The songs evolved a lot doing so, but at the same time didn't lose the essence of its original intention. Thematically, Aprender a Ser talks about opening our perspective of the reality that we live every day, acknowledging each moment that we witness in life. Learning to recognize what we are, what we live, what we see, what we feel. Whether it's seeing ourselves in the past and observing how we have evolved in the present. Or the lifetime of a butterfly from its formation within a cocoon to how it lives its short life in five days. Or seeing how an orchid slowly opens every day, never forgetting the essence of what we are and will be. Nothing in life should be taken for granted. Living in the present is a gift. Learning to be (Aprender a ser) is learning to recognize our emotions, not repress them, not turn them off and feel them.

The clans of Activision, FromSoftware, and Laced Records have come together to release the majestic music of Sekiro: Shadows Die Twice on deluxe quadruple vinyl.

Set in a fictionalised 16th Century Japan, players take on the role of the shinobi Wolf in trying to protect the young Divine Heir Kuro from the remnants of the Ashina clan. Progression requires a mastery of stealth combat and extreme precision while battling some of From’s most iconic boss encounters to date. No one forgets the first time they bested Genichiro atop Ashina Castle...

The vinyl sets feature 50 tracks by lead composer Yuka Kitamura (Bloodborne, Dark Souls III) and co-composer Noriyuki "α" Asakura (Tenchu series.) The dramatic score features traditional Japanese instruments, orchestral and choral elements, and outlandish, mysterious sounds that transport listeners to a war-ravaged Japan during an alternative history Sengoku period.

If Los Bitchos’ electrifying 2022 debut album Let the Festivities Begin! was the rowdy build up to the big night out, then Talkie Talkie is the Technicolor explosion of the dancefloor. Made up of lead guitarist Serra, who carries both Australian and Turkish heritage, Uruguayan synth and keytar player Agustina Ruiz, Swedish bassist Josefine Jonsson and British drummer Nic Crawshaw, the group are united by a commitment to having fun. It’s a contagious energy they’ve had no problem transmitting to the world: since the band officially arrived in 2019 with two sell-out 7" singles, they marked themselves as one of London’s brightest bands to watch. Since then, they’ve found a home in beloved indie label City Slang, ripped stages across the most coveted stages the globe over (such as Glastonbury and Coachella, as well as supporting Pavement and King Gizzard & the Lizard Wizard), and radiated the verve of their personalities and cultures through their exploratory take on rock’n’roll. The London-based quartet’s new album is glistening with charisma, sonic experimentation and a puckish spirit. Named after a fictional club of the same name Talkie Talkie is a late-night paradise brimming with freedom and possibility; a place where partygoers can escape reality in the dance or daydream along to the invigorating soundscapes.

Los Bitchos promise to turn the global indie rock scene upside down in 2024!

Ltd Edtion
If Los Bitchos’ electrifying 2022 debut album Let the Festivities Begin! was the rowdy build up to the big night out, then Talkie Talkie is the Technicolor explosion of the dancefloor. Made up of lead guitarist Serra, who carries both Australian and Turkish heritage, Uruguayan synth and keytar player Agustina Ruiz, Swedish bassist Josefine Jonsson and British drummer Nic Crawshaw, the group are united by a commitment to having fun. It’s a contagious energy they’ve had no problem transmitting to the world: since the band officially arrived in 2019 with two sell-out 7" singles, they marked themselves as one of London’s brightest bands to watch. Since then, they’ve found a home in beloved indie label City Slang, ripped stages across the most coveted stages the globe over (such as Glastonbury and Coachella, as well as supporting Pavement and King Gizzard & the Lizard Wizard), and radiated the verve of their personalities and cultures through their exploratory take on rock’n’roll. The London-based quartet’s new album is glistening with charisma, sonic experimentation and a puckish spirit. Named after a fictional club of the same name Talkie Talkie is a late-night paradise brimming with freedom and possibility; a place where partygoers can escape reality in the dance or daydream along to the invigorating soundscapes.

Love Rudiments is a meditation by Ty Segall on his first love: the drums. Known popularly as a singing guitar player, he generally starts the recording of his songs by laying down a drum track. Love Rudiments kicks off with drums and percussion then adds a few other percussive and production aspects. It travels a great journey in this configuration. However, Love Rudiments wasn"t written or performed to present as some kind of solo drums album - it"s just another music album, with vibes (figurative as well as literal), feels, a theme and a through-line. Never one to shy away from a challenge, Ty"s made an instrumental album of percussive music that rides the wild surf of a waxing-then-waning love affair - from the first blinding look, to the eventual recognition, that look back at love"s rudiments, viewed from beyond and outside that seemingly infinite sensation And why not? Drums are a melody instrument too. Ty plays them with precision and sensitivity, delving deep into the textures of timpani, vibraphone, xylophone, percussion and e-drums, all of them occupying space within the luxe stereo spread of the drum kit. In the process, a psychological space is opened - a private emotional location where only two can meet. Love Rudiments reembodies the passion and compulsion that drives all of Ty Segall"s music in a suite of moments played on orchestral batterie to explore the most delicate passages of human interaction - playing on the bones of love.

Love Rudiments is a meditation by Ty Segall on his first love: the drums. Known popularly as a singing guitar player, he generally starts the recording of his songs by laying down a drum track. Love Rudiments kicks off with drums and percussion then adds a few other percussive and production aspects. It travels a great journey in this configuration. However, Love Rudiments wasn"t written or performed to present as some kind of solo drums album - it"s just another music album, with vibes (figurative as well as literal), feels, a theme and a through-line. Never one to shy away from a challenge, Ty"s made an instrumental album of percussive music that rides the wild surf of a waxing-then-waning love affair - from the first blinding look, to the eventual recognition, that look back at love"s rudiments, viewed from beyond and outside that seemingly infinite sensation And why not? Drums are a melody instrument too. Ty plays them with precision and sensitivity, delving deep into the textures of timpani, vibraphone, xylophone, percussion and e-drums, all of them occupying space within the luxe stereo spread of the drum kit. In the process, a psychological space is opened - a private emotional location where only two can meet. Love Rudiments reembodies the passion and compulsion that drives all of Ty Segall"s music in a suite of moments played on orchestral batterie to explore the most delicate passages of human interaction - playing on the bones of love.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Human Worth are proud to present the stunning new full-length from the ferocious noise rock duo Modern Technology, with a portion of proceeds donated to charity. How two players can make this much racket just has to be heard to be believed. The bass guitar and drums duo Modern Technology sound deceptively larger, louder and noisier than one could expect. The duo of Chris Clarke and Owen Gildersleeve (Old Mayor) present their second full length album 'Conditions of Worth' through rising leftfield heavy label Human Worth. Encapsulating influences of ‘90s Touch & Go era noise rock, the grubby grit of sludge metal, and the ferociousness of post-hardcore, Modern Technology hit you with the same energy and volume as their lauded live shows – which for those who caught them on their recent UK tour with Chat Pile will be able to attest to!

Marching forwards as thoughtful as they are sonically unhinged, ‘Conditions Of Worth’ takes the duo’s voiced concerns and socially conscious outlooks further and louder, tackling issues including mental health, the effects of austerity, societal degradation, and the ever increasing climate emergency. ‘Conditions Of Worth’ is available as a limited edition heavyweight 180g Transparent “Utility Yellow” Vinyl in a stunning package designed by Chris Clarke. 10% of all sales proceeds will be donated to charity Choose Love, helping to provide humanitarian aid, search, rescue and legal advice to refugees and displaced people across the globe.

Edwin Birdsong’s self titled album was released in 1978 on Philadelphia International Records at the height of the Disco craze. By this time, Edwin was a major player at PIR and a talented songwriter and producer as well. Birdsong’s vision hits the mark as the album boasts several gems that became dance floor classics, especially in New York, Philadelphia, Chicago, LA and San Francisco. “Cola Bottle Baby”, “Kunta Dance” and “Goldmine” are all hard hitting funks gems that kick in hard and are ready for partying. Daft Punk sampled the hitsong "Cola Bottle Baby" in "Harder, Better, Faster, Stronger". The sexy “Lollipop” is years ahead of its time and the irresistible “Freaky Deaky Sities” and “Phiss-Phizz” both became huge club hits, despite not having charted on any of the Billboard charts. Even though the album missed the charts, it became something of a hot item for disco/soul music collectors. Edwin Birdsong is available as a 45th anniversary limited edition of 750 copies on crystal clear and transparant green marbled vinyl.

Released in 1956 as the debut album by the Miles Davis Quintet, “Miles” features a combination of pop and jazz standards. Originally released on Prestige Records, the album features an all-star cast of players with John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums). This new edition of the album is released as part of the OJC Series and is pressed on 180-gram vinyl at RTI with (AAA) lacquers cut from the original master tapes by Kevin Gray at Cohearent Audio. It is presented in a Tip-On Jacket.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Issued on vinyl for the first time and pressed on 2 x 140g black vinyl, Juno Reactor’s 2004s album, ‘Labyrinth’, their 6th long player. Ben Watkins is an essential innovator of modern electronic music and a pioneer of Trance. Over the course of nearly 30 years, Watkins has created a unique driving fusion of electronica, orchestral and global music executed on an epic & symphonic scale. Juno Reactor was formed as an art project in 1990. Ben Watkins wanted to collaborate with other artists, producing exciting projects that were not commercially driven. He wanted to create experimental music and non-musical soundtracks that would work with installations, art pieces, and film projects. Labyrinth ranges from orchestral, industrial, and techno as well as containing Juno Reactor's trademark tribal sound (possibly as best featured in Conquistador II). The album also features two songs from Watkins' collaboration with The Matrix composer Don Davis on the films The Matrix Reloaded and The Matrix Revolutions, "Mona Lisa Overdrive" (from Reloaded) and "Navras" (from Revolutions). As well as releasing a string of influential albums as Juno Reactor, Watkins’ tracks have been placed in numerous highprofile feature films, television programmes and computer games and Ben Watkins composed large sections of the original score for the films The Matrix Reloaded and The Matrix Revolutions, as well as composing the entire orchestral score for Japanese anime feature film Brave Story.

Previously Unreleased Recording. Limited to 1200 copies on transparent cherry vinyl. Tip-on jacket, Download code. Insert featuring LP sized original art by Grungie O'Muck. Includes the original recording of Richard Tucker's "Are You Leaving For The Country", later covered by Karen Dalton, and the only song co-written by Karen & Richard, "Sleeping In The Garden". "Richard, Cam & Bert seem to have grasped The Great Harmony. That is, ensemble singing that is at once sweet, precise, funky and a bit sardonic..." -Mike Jahn / New York Times (1970) "For a few years in the late sixties and early seventies Richard Cam & Bert ruled MacDougal St. walking a fine line between the increasingly commercialized demands created by groups like Crosby Stills and Nash and the fierce integrity of earlier folk performers, the generation to which Richard belonged. They managed this with great aplomb, producing original tunes of great integrity and obvious folkloric origins, as well as those which expressed the anarchic omnipresent psychedelia of the moment. They also never abandoned the idea of including some traditional material in their performances. But for the usual random application of luck they could have been very big." - Grungie O'Muck / Artist, Bluesman, Cover artist for their first album and contributor to this one. Richard Tucker, Campbell Bruce, and Bert Lee coalesced as a trio in the spring of 1968, and by the end of that year had become regular performers at fabled Greenwich Village nightspots - The Gaslight, The Bag I'm In, Cafe Feenjon, among others. But mostly they were street singers, busking regularly in Central Park. Their only LP, Limited Edition, was released in 1970, and sold mainly at gigs and on the street. Somewhere in The Stars compiles earlier, previously unreleased recordings, when all three members were signed with Peer-Southern Music publishers as writers and began using their studio to make demos and experiment musically. Beautifully recorded by house engineer Charlie Mack (supervised by Jimmy Ienner), the demos capture a back room casualness and rustic, homespun quality. For me, listening to their songs and harmonies is like entering a world you always hoped existed but had never experienced. Some of the songs were re-recorded the following year for Limited Edition, but many are heard here for the first time. Among them is the original demo for Richard Tucker's song, "Are You Leaving For The Country", which Karen Dalton covered on her seminal 1971 release, In My Own Time. Richard and Karen were husband and wife for much of the 1960s, performing as a duo (initially as a trio with Tim Hardin), and navigating their time on the Village scene while alternating living in a small mining town outside Boulder, Co. before splitting up in 1967. Also making its debut, is the only song Richard and Karen ever wrote together, the haunting "Sleeping In The Garden". Also contains two epic songs by Cam "One Of These First Nights", and "Stockholm") not on their LP, but staples of their live performances, and noted in a gig review by The New York Times, and in a column by future A&R hero, Karin Berg, who was an early champion. Another rarity is the only cover of "Sweet Mama" by Fred Neil we've ever heard. Campell Bruce came to New York in 1967 as lead singer with a band from Washington, DC, The Natty Bumpo. They'd recently signed a record deal with Phillips, but were falling apart. Cam landed in the Village with an acoustic guitar and first started playing and singing in the basket houses, and shortly thereafter at The Gaslight, as the "Cam Bruce Trio" (which included Collin Walcott). After opening for Mose Allison, Cam's hero, the trio went their separate ways, and Cam returned to regular solo gigs at The Flamenco, and the basket houses on Bleecker. Richard and Cam met up on that scene and quickly found a musical kinship as well as becoming best pals. Bert Lee arrived in New York as a runaway the following winter, and began playing and sleeping wherever he could. His sometime accompanist, Ron Price, introduced Bert to Richard and Cam just as Bert's own songs were garnering attention from publishers. According to Bert, "I arrived on the New York scene during a time of great change, and it was the notion of change that influenced me. All around me I saw there were two sorts of songwriters, on the one hand dedicated to the traditions that had inspired them, folk, jazz, the American songbook. On the other hand were songwriters influenced by the wave of experimentation that The Beatles were the perfect example of. Mixing genres, writing lyrics that weren't just about ordinary love and loss. Richard Tucker was a country blues player, with a relaxed and melodic approach to the craft. Cam wrote something more akin to soul songs, with a hint of jazz in the changes. I was writing tunes that sometimes drew on classical structures with a tendency toward what I suppose would be known as prog-rock. But I was rather adamant about not being pinned down stylistically, and so I would write, for example, a song based on some complex classical chord structure, and then go right ahead and write a simple folk song, like Evelyn. Our band was popular locally, and it was this variety that made it distinct." Delmore is excited to present this unearthed treasure, fifteen years in the making. In the words of Richard Tucker, "Tap on your knee, roll on the floor; if you aint free, what's it all for?" "The trio's singing, playing, and writing have all withstood the test of time. Believe me, because I was there. In 1969 R,C&B, myself, Charles John Quarto, David Bromberg, Ron Price, and Keith Sykes were just a few of that year's crop of song-slingers. We were young turks back then, out on the prowl in New York's Greenwich Village for record deals, gigs, and beautiful young women to sleep with and maybe even write a song about. I've lost the names and numbers of those lovelies and I'm not sure what happened to Ron Price, but Richard, Cam, and Bert are back! - Loudon Wainwright lll

Gregory T.S. Walker’s Minstrels & Minimoogs was self-published by a young, nomadic composer and virtuoso in 1988 to accompany an immersive multimedia performance at the University of Colorado Boulder’s Fiske Planetarium. Created with this outer, and other, world setting in mind, the four tracks find Walker stretching toward an ancient-to-future vision where Egyptian myths and Hieronymus Bosch-ian tableaus are rendered in a screaming three dimensional circuitry of electronic drums, synth guitars, and, of course, Minimoog. Given the musical terrains and outmoded topics traversed, and that this entirely DIY effort was originally released as a micro one-sided 12” edition, Minstrels & Minimoogs is as perplexing and euphoric a document lost-to-time as it is now found.

Born in 1961 into an intensely musical family spanning four generations, Gregory’s mother Helen Walker-Hill was a noted musicologist specializing in the rediscovery and work of historical Black female composers, while his father, George Walker, was the first African American composer to win the Pulitzer Prize for music. Both parents studied with the famed (and famously strict) Nadia Boulanger in Paris in the 1950s, and held to lofty aesthetic standards in their home life. Walker began studying the violin as a child, but when a burgeoning interest in the electric guitar and rock music as a teen manifested, it was largely verboten in the household. The rule was that the music played in the home was to be acoustic and classical. Although the elder Walkers eventually relented and allowed Gregory’s guitar to be plugged in for a brief interval on the weekends, the remaining days he settled for strumming it sans amplification.

Gregory, conditioned and eager for a life in music but looking to get out from under the influence and yoke of his famous composer father, ultimately chose to study computer music at the University of California at San Diego, where he earned a Master of Arts. This was followed by another MA in electronic music composition at that hotbed of West Coast experimental music, Mills College. Intermedia and multimedia in the arts was the rage in the 1980s, and Mills was one of the centers for it; audacious spectacle meeting visionary performance, such as one of the realizations for Anthony Braxton’s music for multiple orchestras a young Gregory performed in with his violin.

After a series of solo synthesizer concerts around California, Gregory followed a girlfriend on a mid-country move to Boulder, Colorado. After picking up yet another composition degree at University of Colorado Boulder, his life as a composer really started, writing a piece for extended technique for guitar, a passacaglia for vocoder and orchestra, as well as Minstrels & Minimoogs.

Envisioned as a multimedia performance such as the kind he’d experienced at Mills (which was all but unknown in Boulder at the time), Gregory roped in a number of college going or aged friends of varying skill levels and musical sympathies to accompany him with distorted sax or oblique spoken interludes. Confronted with a lack of finances, but driven to get his ideas captured in a complete musical package, the album was recorded in his brother’s apartment. If not every player assembled was on Gregory’s virtuosic level, so be it; it was more about capturing the spirit of his intentions and embracing the serendipity of mistakes.

An inspired attempt at world building, Minstrels & Minimoogs draws on the deep well of musical knowledge Gregory gathered from his parents and teachers, but all the while subverting that historical basis by incorporating mutant strains of prog and pop music. The work accumulated is not unlike the playful 1980s work of Gregorio Paniagua, where medieval estampies and rondeaus are wrenched into an anachronistic present where Hildegard Von Bingen and Kate Bush are contemporaries. Ars nova, new art, a 20th century minimalist jester and troubadour.

A one sided LP was the cheapest option Gregory found to have Minstrels & Minimoogs memorialized on vinyl, so somewhere between 50 to 100 copies were pressed. There was no distribution, outside of copies that were handed out to friends or sold at the performances at the planetarium. Gregory T.S. Walker’s cosmic-futuristic forays into oblique pop and baroque subversion could forever reside perfectly in both the domed simulacrum of our universe for which it was composed, in the formats it is being reintoduced now, and our own biblical firmament. For in the words of Gregory, straight from the original liner notes: “God Is A Minimoog”

Gregory T.S. Walker’s Minstrels & Minimoogs arrives again August 23, 2024 on vinyl and digitally as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music's outermost fringe.

Søren Skov Orbit's debut album, "Adrift," is at once subtle and profound. The saxophonist and his collaborators have created something quite special and consistently deep. This record may not easily be classifiable, but the most interesting music creeps between the lines

Danish tenor and soprano saxophonist Søren Skov (Debre Damo Dining Orchestra) and keyboardist Peder Vind co-founded the trippy quintet Søren Skov Orbit in 2016 to explore “more jazzy ideas,” as the saxophonist puts it. Joined by a rhythm section steeped in contemporary improvisation and psychedelia, bassist Casper Nyvang Rask, drummer Rune Lohse and percussionist Ayi Solomon of the legendary 80's Ghanaian roots/highlife band Classique Vibes, the Orbit belts out a richly focused helping of broadly African-inspired modern jazz with a hazy sheen.

On the opening “Notifications of Nothingness,” Skov digs in his heels, a steely but languid unspooling of burnished tenor lines atop condensed, quavering piano and the thick footfalls of bass and percussion. As a tenor player, Skov has done his homework and has a kinship with Albert Ayler, Archie Shepp, J.R. Monterose, and the Dutchman Hans Dulfer, but he clearly has got his own robust phraseology and expressiveness. He also cites multi-reedists John Gilmore, Yusef Lateef, and Bilal Abdurahman as, “some of the players I’ve been listening to the most for the last 10-15 years.”

A healthy dose of reverb is present throughout the album, echoing Alton Abraham’s studio wizardry with the Sun Ra Arkestra or the trance-inducing and compressed fidelity of certain Ethio-jazz and Mystic Revelations of Rastafari sessions. Skov notes that, “everything is recorded live at the same time in the same room. I wanted to do it that way in order to catch the dynamics and authenticity of the music.” There is, in fact, a complex teeter- totter between crisp and hazy execution, achieved by a delicately balanced mix that keeps the group’s sound simultaneously advancing and receding. Vind’s phrasing is terse and introspective, a vibrating echo that nudges and reflects on Skov’s brusque tenor in a dance of sonic displacement.

“Orbiting” pits a chunky backbeat and the teetering, taut hand-rhythms of Solomon against an infectious, almost microtonal piano riff, while Skov’s arpeggios are clean and florid as he patiently rises up from under a carpet of funky loops. Following the freer “Reflections of Rif,” “Naration” lilts with a wink at “Footprints” and tugs between up-tempo polyrhythmic drive, clanging keyboard accents, and the innately steadfast keenness of the bandleader. The coupling of Solomon and Lohse is a big part of the group’s detailed energy; as the leader puts it, “Ayi knows everything about regional differences in drum patterns. He is always listening and super responsive, and his and Rune’s dynamics are amazing.” The music both presents a “vibe” and keeps the door open for engaging well under the surface as repeated listens will be extremely rewarding.

You may recognise this fine fellow as the bass player for such acts as Spoon, Lee Fields' Expressions, Reigning Sound and The Jay Vons. Or perhaps you've heard the man himself wailing away on several well-received 45's released on Wick Records and compiled on the digital EP 'Hey Lovers'.

With 'Do You Still Think of Me?', his debut album for Wick Records, Trokan takes the listener through the full spectrum of 60s influenced music: the moody teen-beat bop of 'Save a Place', the garage dwelling angst of 'Nowhere to Be Found', to the sweet soul sound of the title track. But throughout the records, it's the unique sound of Benny's raspy, vulnerable lead vocal that carries us across this truly stunning collection of modern pop. 'Do You Still Think of Me?' is a breath of fresh air from a well-seasoned veteran. Unquestionably worth the wait.

You may recognise this fine fellow as the bass player for such acts as Spoon, Lee Fields' Expressions, Reigning Sound and The Jay Vons. Or perhaps you've heard the man himself wailing away on several well-received 45's released on Wick Records and compiled on the digital EP 'Hey Lovers'.

With 'Do You Still Think of Me?', his debut album for Wick Records, Trokan takes the listener through the full spectrum of 60s influenced music: the moody teen-beat bop of 'Save a Place', the garage dwelling angst of 'Nowhere to Be Found', to the sweet soul sound of the title track. But throughout the records, it's the unique sound of Benny's raspy, vulnerable lead vocal that carries us across this truly stunning collection of modern pop. 'Do You Still Think of Me?' is a breath of fresh air from a well-seasoned veteran. Unquestionably worth the wait.

Darren Hayman New Starts are a spikey, fresh sounding band recalling the poppier ends of new wave and angular guitar rock. Their influences include The Cars, Breeders, Bay City Rollers, The Velvet Underground and ZZ Top. Lead singer Darren Hayman has his own long career running from the late 90s with John Peel faves Hefner to his more recent thematic and historical albums dealing with the English Civil War, William Morris and forgotten rural idylls. “I wanted a band again,” says Hayman, “and not a band that just backed me up and played my old songs. When we form our first bands in our teens we just find some friends and work through the musical differences. I usually look for players who play in a way I’m used to. This time I looked for variance and was led by people’s personality.” Guitarist Joely Smith of South London’s noise-pop adults and recently DIY-punks Fresh was recommended by a mutual friend who said, ‘She makes everything better’. Hayman and Smith shared a coffee and agreed on the correct number of guitar pedals and decided to proceed without an audition. “There is a tendency for me to make my chords too pretty. Joely cuts against that and plays in the opposite direction.” Hayman is a fan of rules and constraints and employed a new, oblique strategy on this record. “Even though I wrote all the songs, I wanted the songs to belong to everyone during arrangement. I decided that I would say ‘yes’ to every suggestion from the band, regardless of my instinct.” This made the songs warp and bend into new shapes and ensured that the record was the product of four individuals. Bassist Giles Barrett and drummer Will Connor come from funky afro beat influenced band Tigercats. “Pretty much the only rhythm I use, left to my own devices, is the ‘road runner’ rhythm. Will takes to care to find where the drum beat can be and we always end up somewhere I didn’t expect.” More Break Up Songs is a collection of 12 Break Up songs because Darren broke up with someone. Again. “I suck’, he says, “But it’s never anyone’s fault. It makes me very sad but I do have to work through these things in song and there’s always something to learn. I try to make songs about breakups that could be understood by both parties. I’m not interested in nasty songs.” Opening song ‘Little Stone in my Heart’ blisters along with Joely’s wildest guitars. The protagonist will do anything to make things right, but nothing ever is. ‘Under the Striplights’ has driving, choppy, incessant riffs, and is about the need to be anywhere but somewhere other than here. We could be under the moon or under the strip lights as long as we have each other. Another barely kept rule that Darren instigated on this album was that each song would be a tonal equivalent to one from The Velvet Underground’s third album. To that end ‘Don’t Need Persuading’ is this record’s ‘Pale Blue Eyes’ with the narrator being unable to break free of a vortex, knowing they will stay the night against all better judgment. ‘I’ve had a long standing distrust of the guitar,’ says Darren, ‘despite it being my primary instrument for twenty years. I thought it was time I made a record with two guitars and drums and bass. I wanted it to be bright, immediate and young sounding, despite the fact I’m old. We recorded it in four days and I think this might be the record a lot of my audience has wanted me to make for a long time.’ “bold and unique" The Sunday Times. // “Hayman has hit a creative purple patch… a treat” Mojo // “uniquely intimate and very satisfying”

Nobuo "Hara", whose real name is Nobuo Tsukahara, is a Japanese saxophonist who became known in 1951 with his big band, the Sharp & Flats. Together they recorded more than a hundred album during their career. Hozan Yamamoto is, for his part, a Shakuhachi player, a traditional Japanese flute, enjoying such recognition in his country that he was awarded a Living National Treasure in 2002. The first record bringing together the two musicians is a live recorded in 1967 during the Newport Jazz Festival. It was a year later, in 1968, that New Jazz in Japan, their first studio recording, was released. Accompanied by the power of the Sharps & Flats, Nobuo Hara's tenor sax and Hozan Yamamoto's shakuhachi respond subtly to give this record, which had not been reissued since 1971, a completely unique style.

Five years into the project, Yermande announced a thrilling new phase for this Dakar-Berlin collaboration; a giant step forward.

The group of players is boiled down to twelve for recordings, eight for shows; sessions in Dakar become steeply more focused. ‘This time around I was better able to specify what I wanted right from the initial recording sessions in Dakar,’ says Ernestus; ‘and further in the production process I took more freedom in reducing and editing audio tracks, changing MIDI data, replacing synth sounds and introducing electronic drum samples.’

Right away you hear music-making which has come startlingly into its own. Rather than submitting to the routine, discrete gradations of recording, producing and mixing, the music is tangibly permeated with deadly intent from the off. Lethally it plays a coiled, clipped, percussive venom and thumping bass against the soaring, open-throated spirituality of Mbene Seck’s singing. Plainly expert, drilled and rooted, the drumming is unpredictable, exclamatory, zinging with life. Likewise the production: intuitive and fresh but utterly attentive; limber but hefty; vividly sculpted against a backdrop of cavernous silence.

Six chunks of stunning, next-level mbalax, then, funky as anything.

Pirates Press Records is proud to re-release Close My Eyes, the 2002 album by NYC ska-reggae legends The Slackers - a complex and nuanced album that shows the band's versatility and capacity for both commentary and introspection. It is often said - to the point of cliche - that New York City is a "character" in the work of the city's most noted filmmakers. A similar statement could be made about the artistic symbiosis between the city and The Slackers. From the Bronx-born accent of lead vocalist Vic Ruggiero to the band's embrace of cosmopolitan musical traditions from a melting pot of cultural origins, New York defines The Slackers at least as much as the band have contributed to defining the sound of New York for well over 30 years.Therefore, it bears mentioning that - aside from a 2002 collaborative album by "The Slackersand Friends" - Close My Eyesis the band's first proper studio LP released after the traumatic terrorist attacks on their home city in 2001, and the band took enough time to reckon with the global fallout of this tragedy. "So feel free go steal and rob, revolution ain't my job," sings Ruggiero on the title track. "And if I sing your happy song, please don't tell me I am wrong." It is the statement of an artist searching for a way to still sing about joy and life in uncertain times of great upheaval. And ultimately the band must reckon with these times. On "Real War," toaster Marq Lyn takes lead vocals as the band addresses the march to war that was omnipresent in those early days of the 21st century, stating in no uncertain terms that it was "Time to fight the real war_ Against hunger and poverty_ For racial equality." The Slackers make it clear that while the machinations of hawkish politicians grind on, the real needs of people all over the world are left behind. This tension between a dangerous world and the struggles of one's personal life are present throughout the record, and the band weaves stories from the whole spectrum of human emotion, war, heartbreak, joy, and everything in between. Bookended by instrumental tracks, opening with the energetic "Shankbon" and ending with moody dub reggae, these veteran virtuoso players ultimately take listeners on a masterful journey through the human experience.

From 2019 to 2023 Lindsay Reamer worked as a field scientist. With a guitar and a bag of books in tow, she would leave her home in Philadelphia for the postcard scenes of the American landscape to gather data on visitation in National Parks. She counted cars and RVs, surveyed visitors, and made a temporary home for a few weeks at a time wherever she landed. All the while, she collected her own observations like specimens and slowly weaved the songs that would form her debut full-length, `Natural Science.' Recorded throughout 2023 by Lucas Knapp, `Natural Science' paints with a full spectrum. Humor rubs elbows with heartbreak. Acoustic guitars brush up against synthesizers, cradling Reamer as she sings about the American Chestnut tree extinction, employee gossip at a Day's Inn, fishing beside a power plant, turf grass farms, and waking up next to day-old take-out. The indifferent beauty of nature is held up next to the everyday as Reamer does her very best to find clues for navigating the latter by musing upon both. Following the release of her self-produced EP `Lucky' (Dear Life Records) in 2021, Reamer assembled a band with musicians from Philadelphia's vibrant music community and began working her once solo-acoustic songs into full band arrangements. After a brief flirtation with dance music which led to 2022's viral single "Touch Tank," Reamer settled into a sound that lies somewhere in the folkrock-pop matrix, explored with the humor and lightness of songwriters like Sheryl Crow or Melanie. Reamer reflects: "When I heard the songs with the band, I knew it was time to make the record. It felt like something I had been working towards my whole life. I grew up around musicians but I never thought I was good enough to be in a band or even to make my own music. My grandmother Joan gave me voice lessons after school, my mom was an opera singer, and my dad a guitar player. But it wasn't until a few years ago that I realized I could do it. It didn't matter if I could shred on the guitar or something. It was like some illusion shattered." Reamer is a sincere storyteller. The self-doubt and heartbreak expressed in songs like "Spring Song," "Sugar," or "Red Flowers" give way to the triumphant moments of self-acceptance and love in "Lucky," "Necessary," and "Figs and Peaches." `Natural Science' chronicles a path to confidence, an honest reflection of someone with the capacity to hold a deep well of emotion who also makes sure to not take it all too seriously. "Gardens on the land / Castles on the beaches / I trust my hand and / Pluck my figs and peaches," Reamer sings, as she works to reconcile the strange difficulty we have at finding happiness despite the obvious beauty all around us.

Luminice Blue Transparent Vinyl. Can you hear the war drums beating? Prepare for battle! Lost In Cult Records, Black Screen Records, Gaziter and Deadpan Games are proud to present Wildfrost: the Original Game Soundtrack. For the first time on vinyl, enjoy the complete and unabridged orchestral score from composer Paul Zimmermann. Rich with folk roots and powerful crescendos, it's the perfect soundscape for your journey through the cold. No Pengoons were harmed in the making of this vinyl. Composer Paul Zimmermann on working on this soundtrack and vinyl: "Writing the music for Wildfrost was a blast. I loved mixing a ton of different instruments from all around the world to bring to life the colourful and unique setting of the game. The gameplay can get very challenging, so I wanted to make sure the music felt playful and uplifting, while also providing those big and heroic moments for our boss fights. I'm super pleased to partner with Lost in Cult and Black Screen Records to bring this soundtrack to vinyl. Seeing the positive response from players has been amazing and I hope this vinyl, with its unique artwork by Nuri Durr and the additional extras, provides fans of the game and its music another great way to connect with the world of the eternal winter!"

2024 Reiseue

In late October 2019, following a successful UK tour ending in a sold-out concert at the mythical Roundhouse in London, SUNN O))) entered studio 4 of the BBC Maida Vale. On invitation to record a live session for Mary Anne Hobbs to be broadcast on Samhain via her excellent radio show on BBC6. To enter the legendary John Peel studios was to enter a temple of music and experimentation, liberty in ideas and sound. The band was nearing the end of a long touring year around the Life Metal and Pyroclast albums. SUNN O))) had developed the compositions extensively, embracing the formative concepts of the Life Metal album conceptually and emotionally, but actualised and evolved into vast, open and bright hypersaturated arrangements. Particularly the pieces the band chose to perform on this recording: Troubled Air and Pyroclasts. The former enriched into a total aspect of the band's ethos and form in many ways, and Pyroclasts had evolved to become all-inclusive radiation of O))). The radiation embraces collaboration and freedom of interpretation by each player, within a structural format of the massive monuments of sound and distortion which define SUNN O))). Anna Von Hausswolf and her band had accompanied SUNN O))) on the UK leg, and Anna joined SUNN O))) in the studio on synths and with her tremendous voice on the Pyroclasts pieces.

goat (JP) are renowned for two albums released in 2013 and 2015 that took Kraftwerk’s man-machine concept back to its roots with swingeing, inch-tight drums, bass and guitar patterns that needed to be heard to be believed. For their long-in-the-making new album ‘Joy In Fear’, band leader Koshiro Hino (YPY, KAKUHAN) describes the process as “90 percent pain” - and we can well believe it - few other records we can think of transmute DAW-composed rhythmic precision into such an expressive instrumental performance. It really is a feat of determination, skill and execution that seems to defy human dexterity.

Make no mistake - an academic exercise it ain’t - in the most visceral sense, goat (JP) make BODY music, for dancing, flailing, for losing yourself in completely. As usual, Hino plays guitar, backed by bassist Atsumi Tagami, while Akihiko Ando joins on saxophone, while Takafumi Okada and Rai Tateishi step in to handle percussion, with the latter moonlighting on flute. Every sound is sculpted into a fragment of cadence: guitar and bass prangs alternately echo and dance between the drums, and Ando's sax is mutated into a respiratory slobber of guttural smacks and phantom breaths.

In some respects, it's tempting to label it jazz, but the kind of jazz that Miles Davis spearheaded on the game-changing 'On The Corner', the blueprint for so much post-punk, electronic music and avant rock. goat (JP) take that raw alloy and sharpen it like a blade, mangling the template with the knotty metrics of Autechre or Ryoji Ikeda. The accuracy is galvanic; it's almost impossible to comprehend each player keeping a mental note of the mathematical time signatures, and yet they floss them out with trills and icy stutters that seem to evaporate around the thick, taiko-like thuds.

They practically get our teeth gnashing with the bruxist rictus chatter of ‘III I IIII III’ , before ‘Cold Heat’ introduces subtly harmonised, new aspects to their sound with slivers of Hassellian flute and ringing overtones of their percussion, while the winding sensuality of ‘Warped’ slips down very nicely. Their links to OG no-wavers like Glenn Branca & Wharton Tiers’ Theoretical Girls - is manifest in the 8 mins of chipping stop/start pulse and parry to ‘Modal Flower’, while a total left turn into Mark Fell-meets-Ligeti-esque messed up metronomics in ‘GMF’ ties it off with a properly beguiling flourish.

FIRST TIME ON VINYL! AVAILABLE IN A BROWN & WHITE COLORED VINYL PRESSING IN A GATEFOLD JACKET WITH OBI LIMITED TO 1000 NUMBERED COPIES.

Memphis Rap legend Project Pat released his third studio album Layin' Da Smack Down in 2002 on CD and Cassette via Loud/Columbia/Hypnotize Minds. Following up Mista Don't Play, Project Pat spits rapid-fire street tales of the dirty south over DJ Paul and Juicy J's signature Three 6 Mafia bangin' 808 beats. From rowdy club tracks to smoother pimp tales and true-to-life stories of being incarcerated, Project Pat delivers another Hypnotize Minds North Memphis classic. The album also contains the single "Choose U" which would be reworked in 2007 for UGK's "International Players Anthem." Get On Down in partnership with Sony Music's CERTIFIED is proud to present Layin' Da Smack Down for the first time on vinyl. Pressed on colored vinyl packaged in a gatefold jacket with a printed insert and numbered OBI limited to 1000 copies.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

The Ohio born player had made his name at Riverside where his 1965 album "The Village Caller" made him a star. When Riverside ceased trading, owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba

Ace reissued the first album “The Loop” last year (HIQLP 115). We are delighted to now put out the second, “New And Groovy”. The line-up features Milt Harris (organ) Wynton Kelly (piano), George Duvivier (bass) “Peppy” Hinnant or Jimmy Cobb (drums) Montego Joe (congas) and Lytle on vibes. The band power through a selection of original material such as ‘The Snapper’, ‘The Pulpit’ and ‘Screamin’ Loud’. The album also contains Lytle’s radical reworking of Miles Davis' 'Miles' which Lytle retitles 'Selim'. With poor distribution, “New And Groovy” barely made it to the shops back in 1967 and was ignored for twenty years until DJs such as Bob Jones and Gilles Peterson started playing it in the 80s making it a sought-after LP.

The popularity of “New And Groovy” has remained, and this is first time it has been legally reissued on vinyl. “Snapper one up…!”

Reggae Charmers is the 1970 album by Lloyd Charmers, born Lloyd Tyrell. His career spans some of the most fertile periods of Jamaica's musical history. From the late-'50s era of Jamaican shuffle R&B and the subsequent ska boom, to the rocksteady and roots reggae of the late '60s and early '70s, Charmers made valuable contributions not only as a vocalist, but as a session musician and producer, as well. Charmers took up the piano in 1966. A few years later, he was an accomplished enough player to form a band of his own with a few friends. The band eventually backed Ken Parker, Max Romeo, Pat Kelly, John Holt, and Slim Smith & the Uniques (Charmers would also spend some time singing for the Uniques). Buoyed by their reputation for laying down some of the rawest and driving rhythms of the time. Charmers is joined by Byron Lee and the Dragonaires on this record, that is a must for all true fans of vintage Jamaican sounds. Reggae Charmers is available as a limited edition of 750 individually numbered copies on orange colored vinyl.

This led to her immediate recognition as a banjo pioneer and to her win in 1991 of the Banjo Player of the Year award from the International Bluegrass Music Association (the first female to win an Instrumentalist of the Year award). For the 2024 reissue, the original 8- track, 1" multitrack tapes were transferred at a resolution of 192kHz/36- bit, and remixed and mastered by Matt Coles at
Compass Sound Studio in Nashville.


The album was produced in 1989 by acoustic music icon and frequent Jerry Garcia cohort David Grisman (architect of "Dawg Music," the jazz- influenced breakout fringe of the bluegrass genre) and recorded with a cast of all- star musicians at Dawg Studio in Marin, CA. Players on the sessions included Alison Krauss (fiddle), David Grisman (mandolin), Mike Marshall (guitar, fiddle, mandolin), Matt Eakle (flute), Joe Craven (percussion) and Jim Kerwin (bass).

The album's 12 tunes were all written by Alison and include the first recorded versions of some of her most well- known compositions, including "Mambo Banjo," "Leaving Cottondale," and "Weetabix."
REMIXED AND REMASTERED from 192kHz/36-bit transfers of the original multitrack tapes. LP – features LIMITED EDITION BLACK & WHITE SWIRL + album download code with 3 never- before- released bonus tracks Includes a 4- COLOR BOOKLET with liner notes from Alison Brown, Dave Dennison, and Mike Marshall, plus ARCHIVAL PHOTOS and SESSION DOCUMENTS

Itʼs been five years since the last BELONG long player, as the duo works slowly to organize their sound works. Both the time invested, and the wait, have been well rewarded with this return.

Common Era shows extraordinary progression from that first album of dense, scorched earth instrumentals, hints of a new direction having been revealed on the Colorless Record EP from 2008 which contained covers of four should-have-been classics from the original psychedelic era.

The new material has such common pop elements as “songs”, vocals and drum machines, but the results could hardly be called conventional and are like little else happening on the current “scene”. The songs themselves are akin to radio transmissions received from another time and place, just as likely to be the future as the past, or even from a contemporary alternate universe.

They are both passionate and dispassionate, grey yet technicolor, ghostly and palpable, distant yet immediate, grainy and focused. Upon listening these conceptual contradictions are dismissed with ease, as the recordings reveal that they fit all of these descriptors simultaneously, an extraordinary balancing act.

Born and raised in Richmond, Virginia, keyboard player Lonnie Liston Smith moved to New York in 1963 playing with the likes of Dakota Staton, Al Hibbler, Max Roach and Abbey Lincoln and Roland Kirk. He made his first recordings with Kirk and in 1968 entered into a mutually rewarding and instructive partnership with Pharoah Sanders and Leon Thomas. In 1971-2 he toured Europe with saxophonist Gato Barbieri appearing on his 1973 albums “Under Fire” and “Bolivia”. His growing reputation was also burnished by playing Fender Rhodes with Miles Davis electric band.

The second of these Barbieri LPs was released on Bob Thiele’s Flying Dutchman label. Thiele was quick to sign Smith and release Smith’s first album under his own name, “Astral Traveling”. Backed by his Cosmic Echoes band, Smith served up a beautiful spiritual and funky stew on tracks like ‘Let Us Go Into The House Of The Lord’, ‘Rejuvenation’, ‘I Mani (Faith)’ and ‘In Search Of Truth’.

Smith went on to record “Expansions” one of the greatest funky jazz albums of all time in 1975 but this debut really paved the way towards that musical milestone.

Ace are delighted to reissue “Astral Traveling” in a gatefold sleeve that, like the original pressing, has liner notes by legendary jazz critic Nat Hentoff.

Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.

This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.

London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.

Specially prepared liner notes by renowned music writer Brian Morton.
Canadian pianist Glenn Gould (1932-1982) became one of the best- known and
most celebrated classical pianists of the 20th century and particularly renowned
as an interpreter of the keyboard music of Johann Sebastian Bach. Gould's
playing was distinguished by his remarkable technical proficiency and his
capacity to articulate the polyphonic texture of Bach's music.
This release presents Gould's complete original 1955 rendition of Bach's Goldberg
Variations (Columbia, ML-5060). The work launched the pianist's career as a
renowned international player and became one of the most well- known piano
recordings. Sales were astonishing for a classical album at that time - 40,000
copies by 1960, and more than 100,000 by the time of Gould's death in 1982.

Susan Wong's 2007 debut for the evosound label

Susan moved in a new direction for this album, travelling to Nashville to work with top local session players, and arrangers. The album features songs from the 1940s standard "Over The Rainbow" to the 1990's classic love song "When You Say Nothing At All" and also includes covers of songs from Van Morrison, Buddy Holly, and Burt Bacharach.

This is part of the evosound 20th Anniversary special re-release collection. The album will be available on 180g vinyl transparent green LP.

Damian Wilson and Adam Wakeman's 3rd full-length studio album 'Can
We Leave The Light On
Longer?' containing 10 new songs, features Damian on vocals and acoustic guitar
and Adam on piano, vocals, Hammond organ, acoustic & electric guitars, bass
and percussion. Additional drums and trumpet are provided by Pete Riley and
George Hogg and there's an 18-voices choir.
In line with, perhaps even more than on, their previous albums the songs have a
very personal depth and meaning to Adam and Damian.
Damian is a songwriter and vocalist who's known for his exploration into different
genres and is considered one of the most versatile singers in rock. Adam is best
known as the keyboard and guitar player with Ozzy Osbourne and Black Sabbath,
Adam has also released several albums with his father Rick Wakeman.

It is our distinct pleasure to offer up two more killer sides from the critically acclaimed long-player Come Around and Love Me, now available on the convenient, DJ-friendly 45rpm format. "That's All I Wanted From You" is a hard-hitting, sophisticated dancer already making waves on the UK soul scene and abroad. On the flip is "So Glad I Found You", an earnest ballad that showcases Jalen's elegant voice and knack for writing world-class soul music. Grab one before they're gone!1

It also features guest musicians Andy Dunlop (Travis) on guitar, Ash Soan (Adele)
on drums, Tony Woollard (Damian Wilson) on cello and Hayley Sanderson (Strictly
Come Dancing) on backing vocals.
Damian is a songwriter and vocalist who's known for his exploration into different
genres and is considered one of the most versatile singers in rock. Adam is best
known as the keyboard and guitar player with Ozzy Osbourne and Black Sabbath,
Adam has also released several albums with his father Rick Wakeman.

Isata Kanneh-Mason erkundet mit ”Mendelssohn” drei Facetten eines der berühmtesten Namen der klassischen Musik: das glanzvolle Klavierkonzert Nr. 1 von Felix mit den London Mozart Players, die lange verschollene ”Ostersonate” seiner Schwester Fanny sowie Transkriptionen von Mendelssohns berühmtester Musik durch andere Komponisten.

Im Jahr 2024 spielte Isata in dem von der Kritik hochgelobten Film ”The Other Mendelssohn” mit, der das Leben der außergewöhnlich talentierten, aber übersehenen Fanny Mendelssohn, später Fanny Hensel, beleuchtet. In dem Film wird die Tatsache aufgedeckt, dass die Ostersonate, ein seit 150 Jahren verschollenes Stück, in irklichkeit von Fanny und nicht von Felix geschrieben wurde. Isata war die erste
Künstlerin, die das Werk, das dem richtigen Komponisten ugeschrieben wird, aufführte.

Das Album enthält die Weltersteinspielung der neuen Urtextausgabe von Fanny Mendelssohns Ostersonate sowie wunderschöne Transkriptionen für Soloklavier von Liszt (”Auf den Flügeln des Liedes”) und Rachmaninoff (”Ein Sommernachtstraum”). Zwei der ”Lieder ohne Worte” von Felix und Fannys ”Nocturne”, ebenfalls für Soloklavier, werden auch von Isata auf diesem Album präsentiert.

Shrouded in mystery, hailing from Hamburg, Germany, Bacao Rhythm & Steel Band (BRSB) releases their long awaited debut “55” on Brooklyn’s own Big Crown Records. Long time multi-instrumentalist and band leader Bjorn Wagner spent a few months in Trinidad & Tobago where he became fascinated with Steel Drums. His initial intrigue with local steel pan music culture led him to learning the instrument both through help of local players and on his own. After he became proficient on the pans Bjorn had his own instrument built from a used oil barrel by legendary pan man Louis C. Smith. Upon returning home to Germany, Bjorn set out to blend the Tropical Steel into his already sharply honed Funk, Soul, and Hip-Hop sensibilities. The outcome is an updated take on a classic format, a truly unique sound. Their first two recordings were covers of The Meters “Look A-Py-Py” & “Ease Back” which they self-released on a 45. Looking back on these two sides you can tell they were just getting their chops up for what was to come next. This is evidenced by how all hell broke loose when they went on to cover 50 Cent’s hit PIMP taking the DJ and vinyl collecting communities by storm. Many people thought the recording was the original sample and probably still do to this day when it is played. The original Mocambo pressing sold out quickly and is now a collector’s item fetching heavy prices when it changes hands. It was this tune that made the introduction between Bjorn and Danny Akalepse of Big Crown. They immediately hit it off and started making plans to do a full length project with the band. Keeping in the tradition of Steel Drum records, 55 is a journey through re-interpolations and covers with an updated approach, pushing Steel Pan music to uncharted territory. Flawlessly bringing previously untouched genres into the steel pan cannon ranging from Underground Hip Hop tunes to staple Funk tracks and some of all that falls in between. BRSB’s 55 is reinvigorating tunes both well-known and helping to shed some light on tunes still largely undiscovered. However, some of the strongest tunes on the album are original compositions, from spaced out Disco vibes on “Beetham Highway Ride” and “Port Of Spain Hustle” to the ugly face inspiring drums of “Laventille Road March”. Recorded to analog 8 track tape at The Mocambo Studios in Hamburg, 55 is a gritty, punchy journey in sound drawing on music from around the world, using production aesthetics from across both eras and genres, all coming together seamlessly. If the 45s that have already come out on Mocambo, Plane Jane, and Truth & Soul are an indication, this full length is going to be a staple to both casual listeners and Disc Jockeys alik

-Daniel Zelonky (aka Low Res) has been producing records since 1978. Notable credits span from The Misfits to his own iconic club track "Amuck".
-His 2022 orchestral funk celebration of "Marvin Gaye's Trouble Man" has earned critical acclaim. This record, featuring many outstanding musicians, breaks the mold of history-conscious record making, eschewing the slavish copying of past styles which has become so common, and exemplifying the label’s stated mission of “Reimagining a futuristic past” where “weird vistas of fresh possibilities unfold before us...”
Suite Crude Revue is a rotating cast of outstanding performers committed to an unshackled aesthetic. Produced, composed, and arranged by Daniel Zelonky, this single presents songs for imagined films.
“Cowpoke Detox” might be termed “spaghetti jazz”. It’s a strange hybrid of spaghetti western style baritone guitar lines supporting jazz noir harmonies, creating a surreal backdrop for the tale of an unrepentant murderer, who feels regret only in terms of the consequences he’s facing.
“Blue Ramen #1” is a lover’s lament, set to what might be termed a “Hollywood samba”: One imagines Los Angeles session players emulating samba for a commercial film, not an authentic Brazilian band. The lush aural environment culminates in a dreamy closing vamp with the impassioned vocal set amid a swirl of improvised trumpet, violin, and piano. This haunting, yet ironic song may well have found its way into the popular consciousness ... if the movie had actually existed!

Stella Polaris is all about quality Scandinavian electronica, chill out, down tempo, leftfield indie music. This 18th edition of the Copenhagen chill-out festival brand comes with a double gate folded colored limited edition (300 copies) vinyl with a focus on inspiring female talent

To experience Justin R. Cruz Gallego's pulverizing Sub Pop debut is to get burned down to ashes and burst forth, born anew. Grim Iconic...(Sadistic Mantra), the Tacoma-based artist's second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic...(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego's powerful drumming in a way that feels visceral and new. It's his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty. Born in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest. He found solace in the Seattle punk scene centered around Iron Lung Records and has since remained a fixture in the underground community. "I see this record as first and foremost a musical statement," Gallego says. "I grew up in punk and DIY subcultures, but before that I had Latin music playing in the background through my childhood and every phase of adolescence. It was surprisingly natural to incorporate. I realized I wanted to go deeper into these rhythms. I wanted to make a record that felt as experimental as much as it felt from the perspective of a Latino. When I got a glimmer of that possibility, it felt exciting." Lead single "Dogear" is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. "I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously," Gallego says. "Cholla Beat" is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production. Gallego's influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it's Gallego's assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego's home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester's penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego. Together, they retained the intimacy of Gallego's home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, "World i," offers a glimpse into the live experience of Grim Iconic...(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.'s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification). Taken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It's a sweaty, thrilling aural adventure and, like a great basement show, it'll leave you breathless, exhausted, and wanting to repeat it all over again. As any good mantra should.

Waking Season is the third full-length album from Beverly, MA post-rock quintet Caspian. The 10-song set was co-produced by Matt Bayles, former keyboard player from Minus the Bear and producer for such seminal albums as Isis’ Oceanic, Botch’s We Are Romans and Mastodon’s Blood Mountain. Waking Season is the follow-up to Caspian’s 2009 album Tertia. 2LP pressing from Triple Crown Records. Guitarist/keyboardist Philip Jamieson on working with Bayles, “We wanted to shake things up and work in a different type of environment, the kind of environment where it wasn’t just us calling the shots all the time. Working with someone who had the credibility to challenge the way we heard the songs outside of our own bubbles was extremely important to us for this record. Matt has a way of pulling the pieces together to make them sound crystal clear, sharp and balanced without removing any raw energy from a track. Working with him was a humbling and enlightening experience and we feel like it really benefited the album.”

Sumer Is Icumen In is Quentin Thirionet's (Dhavali Giri, Pairi Daeza) debut album. Still, his musical escapades are vast and varied, based almost entirely on improvisation and live recordings, of which he occasionally distributes tapes without further information. Elusive to categorization and identification, unwilling to fix his musical activity under a stable pseudonym, his projects have ranged from gypsy jazz guitar swings, French traditional songs from Auvergne, and various experimental collaborations. Increasingly closer to electronic instrumentation, he crafted what Belgian label KRAAK presents here as Maibaum, his first ever solo output. As the title goes, this may be a maypole on which his multicolored sonic visions spring about.

Former rope access worker and currently a farmer of organic greens, Thirionet lives up to these lines of work as a musician. He assembles precisely what seems like a subtle balance between high manmade structures and soft fertilized soils; a high voltage pylon placed in a biotic landscape. It's all an even blend, spontaneous and steady, but this contraption comes from profound considerations. "I chose these tracks among many others," says Quentin, "because I heard the melodies all the time in my mind, and because I cried while playing them without really understanding why."
Armed with nothing more than a blackbox, a sequencer, a freeze pedal, and a tape player, Thirionet orchestrates a vivid rite of polished futures. At times reminiscent of Hans-Joachim Roedelius' enveloping arrangements, Maibaum's ambiances rely on mild repetitive patterns subsequently textured by prickling sprouts, mechanic dislocations and revamps that stoke and brighten the stirring motions. Jim O'Rourke's I'm Happy and I'm Singing comes to mind in terms of its detailed and prismatic nature, but Sumer Is Incumen In has its particular narrative. It's a tale of regeneration, of spring's delicate procedures and allure, a celebration of gracious and fortunate junctions between nature and machinery.

The album unfolds like a massive engine being made flesh to drift along the ether of a sultry land. The terrain turns pleasant and fertile in the title track; the colors and melodies of May start to unravel. Chromatic columns rise and define the scenery's depth of field breeding a synesthetic stream between crystal lights and warbling organisms. Grande Albero Buono Magico Uoma's brisk kaleidoscopic arpeggios sound like scanning a tree's litmus foliage. Then Ciguri takes us back to the foggy swamp of the beginning but is suddenly lit by an insect’s labyrinthine roundabout. The Jeweled Grid is a poem Quanta Qualia's lustrous metallic voice recites as a report of the album's phenomena. "Shiny revelations jump out. Pearls of thought flicker about." Images from within that distill to swirl around among us. The thicket dissolves as the album concludes calmly in Le Concept De Chien N'aboie Pas. Swaying under sieved solar light, leaves and branches tingle until the winds grow weak. All the warm creatures gathered along the way, and all those who danced around the maypole's splendid equilibrium now withdraw, folding up small to foster rebirth once again.

José Badía Berner

Sunny Crypt is incredibly happy to announce its seventh release: a retrospective compilation of six previously CD-only tracks by Nightmare Lodge, a name that might ring the bell to many enthusiasts of Italian experimental music.
It Passed Like A Dream is a selection of some of our favourite tracks they released between 1994 and 2000, aiming to spotlight a small glimpse of the amazing body of music they did throughout the years.
Nightmare Lodge is a musical project by Minus Habens Records / Disturbance founder Ivan Iusco alongside vocalist B. Mazzilli and bass player Gianni Mantelli, when the Bari based trio decided to decided to embark on a path in search of their own dreamlike musical dimension tied to introspective explorations.
Over the years, the group's lineup evolved, eventually solidifying as a duo comprising Iusco and Russolo.
With their first release dated 1987 and staying active till the early 2000s, it is quite challenging to put the Nightmare Lodge discography in a precise musical box. Their first outings flirted with post-industrial music and a more stripped down sound palette marked by a DIY approach to composition, while in later years leaning towards a more horroresque / cinematic feeling and following the development of new technologies but always charactering their output with a ritualistic, trance inducing and mystical approach, whatever if it’s ambient, downtempo, techno not techno, or a whole lotta else...

The band name is a nod to the eponymous album by Sonny Rollins from 1962, but the project refuses to sound nostalgic. Every performance leads to completely new music, with every player bringing influences from their own generation and background. Recorded by Bartosz Szkielkowski at Pardon To Tu, Warsaw, October 3rd, 2022 (except for LP format extra track). In this quartet Amado gathers three of his strongest longtime influences: German pianist Alexander von Schlippenbach, Norwegian double bass player Ingebrigt Håker Flaten and American drummer Gerry Hemingway. For Amado this band represents a deep dive into his own formative roots, something he has been dealing with more and more in these last few years. With Schlippenbach, Håker Flaten and Hemingway by his side, Amado has the perfect context to explore the classic materials he considers to be the basis of his journey as a musician, an impulse that is part him and part history. This is a quartet whose name really represents, aside from a direct homage to Sonny Rollins, a bridge between different languages, backgrounds and generations, all united through improvisation. Rodrigo Amado - tenor saxophone Alexander Von Schlippenbach - piano Ingebrigt Håker Flaten - bass Gerry Hemingway - drums

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Beginning in the 60"s, the small chamber group ensemble became increasingly important in the advancement of jazz, enabling horn players including Sonny Rollins, Joe Henderson, and Ornette Coleman to seek uncharted sonic territories and achieve new levels of freedom without the support of chordal instruments. With a mature, cohesive ensemble sound, the young trio juxtaposes tranquility and space with energy and tenacity across nine original compositions showcasing their stylistic breadth. From the swinging waltz "December" with a melodic contour reminiscent of a jazz standard, the soothing folk-influenced simplicity of "Vent", the intimate lyrical interplay between bass and clarinet in "Duo", to the heavy, propulsive power of the title track, the trio demonstrates fearlessness, listening, and spontaneity in a raw and personal recording that puts each of their distinctive voices in the spotlight. Christian Holm-Svendsen, currently resides in New York, studying for a master of music at Manhattan School of Music. In Denmark he played with, among others, The Danish Radio Big Band, Copenhagen Jazz Orchestra, Odense Jazz Orchestra, Jesper Zeuthen, and Regnfang. Daniel Sommer is an award-winning artist and sought-after drummer on the international jazz scene. Known for crossing the borders of different musical landscapes with a distinctive musical approach, Sommer currently performs with Karmen Roivassepp Quartet, Foyn/Hess/AC/Sommer and recently released the trio album "From Within" with Arild Andersen and Rob Luft on April Records. Mariusz Prasniewski is a Polish double bass player, residing in Copenhagen. A part of the Danish and European jazz scene for more than a decade, the bassist has worked with musicians like Tomasz Dabrowski, Anders Mogensen, and Gilad Hekselman.

Limited edition 300 only cyan coloured vinyl LP, housed in a reverse board sleeve with hype sticker, polylined inner bag and download code. Non-Returnable.
Stars align and Oli Heffernan brings his ever-(d)evolving Ivan The Tolerable to Riot Season for two LPs of sublime entropic drift.
Having this time recruited Christian Alderson (The Unit Ama) on drums, John Pope (Ponyland) on double bass, Kevin Nickles (Ecstatic Vision) on flute and saxophone and Ben Hopkinson on electric piano - both works were recorded as a quintet almost instantaneously, the players barely brushing or breathing a note before the whole thing was done.
‘Vertigo’, is all claustrophobic, dense and disorientating - like Sun Ra sitting in with Exploding Star Orchestra
John Hubner (Complex Distractions) on ‘Vertigo’
“An expansive collection of free-flowing sound and mood bringing to mind Coltrane (John and Alice) as well as the great Albert Ayler, while touching on the forward thinking compositions of Rob Mazurek's Exploding Star Orchestra.
From the titanic soundscape of "New Worlds On Earth" to the Marc Moulin touches of "Liquid Voices" and the mysterious eccentricities of "Swimming", 'Vertigo' hangs in the air long after the final note plays.”

Vigil is a (heavy & avantgarde) doom/death metal band from the Unites States, with an aggressive sound - yet emotional and obscure, but also beautiful and emotional. A dark doomy road of sorrow and anger. With two bass players and some influences of post-rock, thrash and progressive metal, Vigil is a showpiece of the apocalypse filtered through ears, hands and emotions. The songs range from old-school European styled doom, with an aggressive death touch, like My Dying Bride, Paradise Lost and Katatonia, all the way to current atmospheric post-rock/metal acts as The Ocean, Isis and Intronaut. There are slow tempos to drag you through the emotional pain, and there are blast beats and thrashy grooves occasionally to spice things up

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”