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Reuben Sawyer is nothing if not prolific. He's also a man of many talents - his various projects have included the coldwave sounds of The Column, Hollow Sunshine's blown-out psych-noise, Anytime Cowboy's take on countrified weirdo-pop, and even ambient house courtesy of Rose. Oh, and he's a visual artist too, of course. Pfft, who needs an attention span anyway? One thing he's also dabbled in, however, is post-punk. Human Trophy is firmly in line with that tradition, but pulling from multiple directions at once - one minute this album rattles along like Big Black with the tempo down and the textures dialled up, the next we're firmly in Christian Death territory. The twisting guitar lines and pummelling bass of 'Forming Horrors' even call to mind his blackened punk project Dry Insides, but with less velocity and a helluva lot more menace. Is 'Corpse Dream' a goth record? Possibly. Whether goth is a lifestyle choice for Sawyer or not, he's certainly adept at immersing himself in sounds and making them feel like a comfortable fit. As with all his projects, it feels like another effortless facet of Reuben Sawyer - and in keeping with the rest of his output, it's absolutely packed with songs you'll wanna play again and again. Penultimate track 'The Roads' is built on a none-more gloomy pile-up of darkly portentous rhythms and a firm sense of disquiet, but once you're locked into its circular riffage you'll feel an urge to keep the loop going endlessly. Then there's the closer 'Blood Apex', a dual-vocal nightmare set to music which draws you back in even as it attempts to push you away. Yeah, it's pretty great.

Pelvis and Burning Rose Records present the debut 12” from producer and vocalist Purient. Her voice floats over tough production on three original tracks, pushing from an icy cool to blistering heat.
It’s page one for Purient, and exceptional remixes from Eartheater and Varg²™ further pull the curtain back on her expanded universe.

It is our distinct pleasure to present Penrose, a new imprint poised to usher in a whole new era of soulful sounds.

Founded by Daptone Records' own Bosco Mann after building a new recording studio in his hometown of Riverside, California, Penrose will showcase the most exciting acts emerging on the blossoming SoCal souldies scene today.

For its inaugural release, the label offers up five singles by five exciting new artists: Thee Sacred Souls from San Diego; Jason Joshua from Miami; East L.A. mainstays Thee Sinseers, and The Altons; and Altadena veterans, Los Yesterdays.

The legendary Dutch progressive rock band Earth And Fire, with foxy singer Jerney Kaagman and studio wizards Chris and Gerard Koerts, rose to fame in the early 1970’s with a non-stop string of top 10 singles including “Seasons”, “Memories“ and “Maybe Tomorrow, Maybe Tonight“. This Music On Vinyl expanded edition includes three bonus tracks: “Lost Forever”, “Invitation”, “Song Of The Marching Children (single version)”, all of which were not available on their original 1971 album.

Earth And Fire Song Of The Marching Children celebrates its
50th Anniversary in 2021 and is available as a limited edition of
750 individually numbered copies on gold vinyl.

Long-awaited reissue for Berkeley Asian-American legendary guitarist and composer Leland Yoshitsu's eponymous
self-financed album, recorded in 1975 with a moog synthesizer, bass, electric guitar and organ, with the assistance of drummer
Dana Rose and with David Blossom's guiding hand. Originally self-released and then reissued two years later
on Leland's own 'Contempt' label, this psychedelic punk cult album finally sees the light again in this fully remastered, limited vinyl reissue.

5 years after his last studio album, Wax Tailor is back with "The Shadow Of Their Suns" a darkly elegant "sound feature" accompanied by a new and prestigious cast.

Behind this allegorical title hides a long period of brainstorm. The luxury of time in a world where everything goes fast. Time to observe the light from the shadow, the "whirlwind of life", its excesses, its drifts and its symbolic violence. Time to think and translate into music as a privileged witness of our society.

Among the guests of this new album, the rock legend Mark Lanegan & his unique voice, Del the Funky Homosapien (Gorillaz, Hieroglyphics), D Smoke (Winner Netflix Rythm + Flow, the new west coast scene sensation), the late Gil Scott Heron, Rosemary Standley (Moriarty), Mr LIF (Thievery Corporation, Def Jux), Yugen Blakrok (noticed alongside Kendrick Lamar & Vince Staples on the Black Panther album), Adeline (Brooklyn’s Best Kept secret soul singer), Boog Brown (Detroit femcee).

Having shone his light over the damp canals of Gothenburg for at least a decade, Paradise City Jams is the first album proper from Johannes Brander and his Skogar project, as well as his first release on Stockholm’s Studio Barnhus label. This highly anticipated record is the crown jewel of all those strangely glimmering shards scattered via the barely existent Native Parts imprint over the last 10 years, as well as numerous live performances around town. Though rooted in the mid-00's neo cassette underground, this debut album bares little resemblance to the hypnagogic era, the mostly guitar-driven tracks evoking a longing for something that has never actually existed, in contrast to yer standard nostalgic exercises. A Malmsteeninan approach to the riff is soaked in a peculiar strain of melancholia, accompanied by mesmerizing synths and bad-ass percussion. As a
visual artist, Brander works with returning images of feverish jungle scenes, often incorporating Vodou mysticism and tribal settings. These images are always present in the mysterious musical world of Skogar, painting pictures of a parallel universe far away from those Gothenburg canals. Well worth the wait! Recorded in Gothenburg, Brännö and Hawaii between 2017 and 2020, mastered for vinyl by Viktor Ottosson.

he Finnish crooner, Bobby Oroza, is back with a new set of tunes that pick up right where his glorious 2018 debut album, This Love, left off. The A side 'I Got Love' is a sweet soul anthem for those with their priorities straight and an encouraging reminder to those who may have lost sight of what is truly important in life. Bobby has penned another hit. He sings about choosing love over all things material and recognizing what you have when you have it. Bobby sings an earworm of a chorus that sums it up perfectly, "I got love, and that's enough". The B side, 'Loving Body', is as seductive as it is profound. Bobby proposi- tions his love interest over a gorgeous Cold Diamond & Mink production for more than a light hearted love affair. Mr. Oroza is not your average Joe, and this is not your average roses and candy song. Bobby lays out his desire to become one loving body in the way two rivers become part of the sea. A beautiful song about attraction and desire that will be an instant staple in the sweet soul world and beyond.

A limited special edition for our many loyal Italo Disco fans!
Doctor‘s Cat, Ralph River Band,Body Power, City O, Limit
Eccitation!

Back in 2019, Ravioli Me Away debuted their hyper-surreal operatic work 'The View From Behind The Futuristic Rose Tellis' across the UK, including two sold-out shows in London. Difficult to contain, and wound-up with a truant's sense of narrative, it presented a wondrous cacophony of erupting media and performances patched together with wit and existential alarm. A suite of songs circling themes of aspiration and the everyday run through the opera, and these were released in parallel by Wysing Polyphonic, one of the commissioning institutions. A selection of these songs were then reinterpreted and reshaped into forms that befit a club setting, debuting at Supernormal festival in the same year. Entitled 'Naughty Cool,' Alter now presents these collective club reworkings by HMS RMA for the first time on vinyl and digital formats. Uplifting and delightfully crooked throughout, the tracks are shuffled together and stitched as a 'DJ mix.' In six segments of vocal-led missives and soft drops, the sunniest hooks of early Chicago house are recalled, all cross-pollinated with the collective rhythms and tones of the UK's rave subconscious. A freeform, DIY rowdiness lurks around every corner, equally evoking punk's flings with disco. The familiar sound and presence of Ravioli Me Away's Alice Theobald, Rosie Ridgway, and Sian Dorrer aren't lost in the edits and adaptations, and they come backed-up with Tom Hirst (Design A Wave), opera singer and artist Siobhan Mooney, and Dean Rodney Jnr (The Fish Police), all of whom took part in the original opera itself. "Naughty Cool" was engineered by John Hannon at No Recording Studios and mixed and mastered by Amir Shoat in London. This record is dedicated to the memory of Donna Lynas.

'Roses' is the 5th studio album from The Paper Kites. An alluring, dynamic and diverse company, the ‘Roses’ vocalists were hand picked by the band to feature on the new album. Along with Lucy Rose the band have confirmed Julia Stone (AU), Nadia Reid (NZ), Maro (PT), Aoife O’Donovan (US), Rosie Carney (UK), Ainslie Wills (AU), Amanda Bergman (SE), Lydia Cole (NZ) & Gena Rose Bruce (AU) will all be featured on the 10 track album. ‘Roses’ is a testament to sincere, patient and understated songwriting. A deeply moving collection of songs, helmed by a cherished selection of artists.

Two of our favorite records that we here at Real Gone Music have reissued in the last few years were the debut pair of records (both originally released in the early ‘70s) by legendary Brazilian percussionist Airto; each album serves up a savory, bubbling stew of Brazilian folk, fusion jazz and bossa nova spiced with a hint of tropicalia. While Airto’s contributions on each record were, of course, front and center, there was another player on those records that almost stole the show: one Severino Dias de Oliveira a.k.a. Sivuca, a small, wizened man (often somewhat uncharitably described as “gnomish”) whose dazzling virtuosity on accordion, guitar, and keyboards—coupled with a powerful singing voice that belied his small stature—made one instantly sit up and take notice. Further investigation revealed that stealing the show was nothing new to Sivuca; championed by Oscar Brown, Jr., he was the instant star of tours by both Harry Belafonte and Miriam Makeba among others. Sivuca started making records back in the mid ‘50s, and recorded for a number of labels in the States, including Reprise and RCA, but it is this record, made in 1973 for the Vanguard label, that is the one that collectors worldwide have zeroed in upon. And with good reason; it offers the same beautiful blend of styles found on those Airto records, but with an emotional shading all its own, a joyfulness paradoxically infused with melancholy, best expressed on Sivuca’s mesmerizing take on Bill Withers’ oft-covered “Ain’t No Sunshine,” which is likely to become your favorite version.

Nils Petter Molvær and Mino Cinelu had both come a long way in their careers before they met. Cinelu gained international renown on Miles Davis’ albums We Want Miles and Amandla, also noted for his playing with the likes of Weather Report, Gong, Herbie Hancock, Pat Metheny, Sting, Santana, Lou Reed and Laurie Anderson, to name just a few. He has also released 3 solo records and collaborated with Dave Holland and Kevin Eubanks on the World Trio album. Nils Petter Molvær, meanwhile, is one of the most outstanding figures in European jazz. In 1997, he made his debut on ECM Records with the album Khmer, combining the Nordic feeling of nature with the Southeast Asian philosophy of sound. His journey into the uncharted areas of music spans almost a dozen records, on which he explores various combinations of acoustic and electrical sounds. He collaborated with Berlin’s electronic producer Moritz von Oswald in 2013, with the reggae philosophers Sly & Robbie in 2018 and with Bill Laswell on several occasions.

Cinelu and Molvær in some senses represent two worlds, which – at first glance – could hardly be more different. Their musical home is the entire planet, but while Molvær's hoarse and cloudy trumpet sound evokes boreal cold, Cinelu stands for the rhythmic fire of Latin America and Africa. On ‘SulaMadiana’, they’ve found their common playground - the album’s title itself a tribute to the two musicians’ heritage. Sula is the Norwegian island from where Molvær grew up, and Madiana is a synonym for Martinique, from where Cinelu's father hails.

SulaMadiana is a cornucopia, spilling out reverberations of Miles Davis, Gong, and previous works of Molvær, and yet Molvær and Cinelu open up doors to entirely new worlds. Cinelu becomes a singer on his percussion, while Molvær's electronically distorted sounds create a driving pulse. Cinelu plays acoustic guitar, Molvær conjures up drones on the electric guitar. The interplay between the two musicians is key, Molvær observing; “We are different, but what we have in common is that we like to give some space to things. I create space for him, he creates space for me, and we both create space for music.” Cinelu adds: “It doesn't matter who has what share in music. We both know each other’s cultures, we find bridges and crossings, and often we walk these paths that lead in the same direction. We wrote everything together and followed our feelings. There are no limits or barriers.”

Electric Jalaba comprises six accomplished musicians with an empathy thatfeels telepathic and a groove that immerses. In Arabic, the mother tongue ofMoroccan-born singer and guimbri player Simo Lagnawi, a leading practitionerof Gnawa music in Britain, they call this indefinable quality, "El Hal" - "Thefeeling". "It's the feeling that comes when we're playing and totally forgetting where weare," says producer and bassist Olly Keen. "The feeling of being grabbed by themusic and lost in the groove." 'El Hal / The Feeling' is the new third album fromElectric Jalaba and their first release in five years. It's a multi-faceted work thatfinds the band tighter than ever, deploying a vast cache of influences across ninetracks improvised and developed in their south London studio then deftlyproduced by Keen. Some tracks pay homage to the origins of Gnawa music,whose repertoire of Arabic-language praise songs contains remnants of WestAfrican dialects - Bambara from Mali, Fulani and Hausa from the Sahel region -that point to a centuries-old migration. "The trance-inducing effect of Gnawa was what hit us first. It was visceral, heartstopping," continues Olly, whose siblings - producer / keys player Henry Keen,guitarist / multi-instrumentalist Nathaniel Keen and singer / multi-instrumentalistBarnaby Keen - make up Electric Jalaba alongside revered Anglo-Italian kitdrummer Dave De Rose and Simo on vocals, krakeb and guimbri. "Simoselected the chant from the traditional song suites and, as a band, we extendedthese short pieces of ceremonial music and experimented with sound andstructure," explains Olly. Tracks include the Juno-led dancefloor single 'CubailiBa', 'Agia Hausa', a multi-layered wig-out that partly takes its inspiration fromSenegal's fiercely percussive mbalax rhythms and 'Daimla', a gloriously dubbyode to Allah and iconic maalems including the late Mahmoud Guinea. "There's avery strong rhythmic element within the band but because of our differentperspectives but the melodic components are really unique as well," says Henry.That feeling of being outside of yourself but totally within yourself at the sametime... That's what all of us, collectively, are striving for."

It will have taken a lockdown to get talented Swiss artists and real-life friends Sophie Hunger, Faber and Dino Brandão to collaborate as a trio for the first time. Today, they unveil an exciting new project, Brandão Faber Hunger and announce a love manifesto.

“Ich Liebe Dich” is a collection of 12 original songs in Swiss German dialect, recorded in August 2020 at the La Frabrique Studio, Saint-Rémy-de-Provence, France. This album is a movement that sounds like the beginning of the world and yet remains almost untraceable in the Swiss-German musical tradition. This is an attempt to bring love back to the centre of reality.

First pressing of 400 units comes as yellow vinyl! "I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, 'Ah!-(etc)' made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose' it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something" And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein_ after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for "one-man-band-home-recording-pop-songs of idiosyncratic character." A quick follow up to his more power pop and pub rock LP only "Hard Feelings" offering in the summer, "Ah-(etc)" finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60's and 80's. As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along_ Stoltz former bandmate, Echo & the Bunnymen's Will Sergeant adds electric guitar to "The Quiet Ones" a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover "Moon Shy", where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF's Dirty Ghosts sings on "She Like Noise", a song Stoltz wrote for her in celebration of her love of seeing live bands. The album was mastered by Mikey Young in Australia.

Montreal art pop group Freelove Fenner release their long-awaited album, The Punishment Zone, on Moone Records. The 14-song collection is an exercise in pleasing sounds, diaphanous textures, and concise song structure. The group listened to a century's worth of experimental, often cacophonous sounds and reshaped it into a mellow pop music.

The group’s workshop is the strictly analog Bottle Garden Studio, a small room full of tape machines and homemade equipment that is integral to the group’s sound and process. Avoiding 21st century technology not out of any sort of snobbery or nostalgia but rather a desire to avoid the work habits inherent with contemporary tools, the band embraces the different results that come with a slower, more tactile process: the happy accidents; the absence of visual stimuli (no screens); the difficulty in attaining high gloss finishes.

Freelove Fenner have released two EPs, In the Bottle Garden (2009), and Pineapple Hair EP (2012); as well as the full-length album Do Not Affect a Breezy Manner (2013), all on Montreal’s Fixture Records. The Punishment Zone will be released on Arizona’s minimal art label Moone Records, joining an eclectic roster featuring artists like Tori Kudo, John Dieterich, Little Wings, Lithics, and others.

Earth, Wind & Fire’s sixth studio album That’s the Way of the World rose to No. 1 on both the Billboard 200 and Top Soul Albums charts. It was also the soundtrack for a 1975 motion picture of the same name. They won a Rock Music Award for the album in the category of Best Rhythm and Blues Album. The album is filled with gems ranging from the sweat funk of “Shining Star” to the gorgeous ballad “Reasons”.

In Zusammenarbeit mit dem britischen Entwickler-Studio Kaizen Game Works veröffentlicht das Kölner Soundtrack-Label Black Screen Records im Frühjahr 2021 Barry "Epoch" Toppings funkigen "City-Pop meets Vaporwave"-Soundtrack zu dem von der internationalen Gaming-Presse gefeierten Open World Adventure Game Paradise Killer auf Vinyl. Barrys Toppings Soundtrack erscheint auf limitiertem 180g Curacao & Pink Doppel-Vinyl und kommt in einem von 80er Animes & City Pop-Alben inspirierten Artwork der deutschen Designerin Mizucat. Zudem enthält das Vinyl ein gefaltetes A2 Poster und einen Download Code. Die Sounds des Paradieses. Die Musik eines kosmischen Traums. Tracks einer anderen Realität. Das Tempo eines Verbrechens, dass alle Verbrechen beendet. Der Beat von lange verlorenen außerirdischen Göttern. Die Playlist des "Investigation Freaks". Lass dich von der Musik ins Paradies führen. Fühle die glühend heiße Sonne auf deiner Haut. Rieche unerträglich heißen Beton. Genieße den süßen Geschmack von Verbrechen, begangen, auf einer tropischen Insel in einer alternativen Realität. Erinnerst du dich daran, wie wir am Strand getanzt haben? Neben den paradiesischen Straßen? Du hast mir dieses Mix-Tape auf dem Dach deines Apartments gemacht. Wir haben den Mond angestarrt. Du sagtest, du würdest den Mond töten. Ich glaubte dir nicht. Wie falsch ich doch lag.

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INSERT
• 2-LP SET FEATURING REMIXES OF THEIR CLASSIC
HITS “FOOLS GOLD”, “ELEPHANT STONE”, “ONE
LOVE”, “SHE BANGS THE DRUMS” & MORE
• REMIXED BY A GUY CALLED GERALD, PAUL OAKENFOLD, JUSTIN ROBERTSON, UTAH SAINTS,
GROOVERIDER & OTHERS
• BLACK VINYL

The Remixes is a compilation album by The Stone Roses, which features remixes by various producers including Utah Saints and Paul Oakenfold. Various techno luminaries ply their skills reworking some of those early classic songs, and it is immediately clear that the Roses, even beyond the genius of their songs, were a preeminent dance band.

The Remixes on black vinyl includes an insert.