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The Red Clay Strays haben in acht Tagen zwölf Songs aufgenommen, die ihre Americana-Seele besser präsentieren als alles zuvor.
In einer digitalen Welt, die auf Perfektion ausgerichtet ist und in der Autotune und elektronische Instrumente in den Studios überhand nehmen, kann es schwierig sein, in der heutigen Zeit noch Authentizität in der Musik zu finden. Die Ära der Alben, die als echte Hörerlebnisse gestaltet wurden, ist auf der Strecke geblieben, doch die Red Clay Strays haben sie mit ihrem Debütalbum Moment of Truth kunstvoll wieder aufleben lassen. Das Ergebnis ist in mehrfacher Hinsicht ihr Moment der Wahrheit.

High Roller Records, 180g black vinyl, lyric sheet + 4 pages insert printed on uncoated paper, poster, 425gsm heavy cardboard cover, bonus track "Strange World". Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, 180g black vinyl, lyric sheet + 4 pages insert printed on uncoated paper, poster, 425gsm heavy cardboard cover, bonus track "Strange World". Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY. Cutting by SST Germany on Neumann machines for optimal quality on all levels

Fernando Pulichino's slinky, syrupy dance floor records - all of which sit in a triple frontier death zone between rock, funk, and electronic sounds - have been cycling through DFA DJ bags for years, so it was only a matter of time until he made an official appearance on company letterhead. The original version of "I Got, She's Got," which appears here on B2, is a romping, scuzzed-out, howl-at-the-moon burner, but it's the remix (a little more clarity of purpose, a lot more arpeggios) that really goes and notched the A1 placement cut at 45RPM. Sandwiched between the two is another innocuous bomb, "She's Playing With Fire." Three tracks, all weapons, trust us. Written, produced, and performed by Fernando Pulichino in Buenos Aires. Saxophone on "She's Playing With Fire" by Gustavo Buchiniz. Mastered and cut by Bob Weston at Chicago Mastering Service. Pressed by Furnace Record Pressing in Alexandria, VA.

Experimental Japanese operator Lemna returns to Mantis with another five intricately sculpted cuts that toy with tension, release and the mysterious atmosphere of the forest at dawn. Lemna adopts a considered, patient approach to her music practice, creating interlocking rhythms which take cues from Autonomic fragmentation as much as techno hypnosis, but it's the spatial pressure and textural sound design which makes her music truly fly. Taking predawn walks in woods at the foot of the mountain she calls home, she drew inspiration from five different organisms within the vibrant ecosystem around her to create a collection of tracks she aptly refers to as 'Nocturnal Assembly'.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

Dream team trio Better Corners – Valentina Magaletti, Sarah Register and Matthew Simms – have completed a staggering new album Continuous Miracles: Vol. 2 for state51 Conspiracy, and where their debut LP joyfully opened the door to a brand new room, this one strides purposefully inside.

Renowned drummer/percussionist Magaletti (Holy Tongue, Vanishing Twin, Moin), avant rock musician and in demand mastering engineer Register (Kim Gordon, Talk Normal) and multi-instrumentalist and modular obsessed Simms (Wire, MEMORIALS) inject an all-too-rare sense of childlike wonder and joy into their own inimitable collage of experimental rock, wonky dream pop, analog ambient, tape experimentation, avant percussion, modular electronics and noise music.

It is this sense of fun that led to one of the band’s “uncovers”: ‘Modulating De Niro’ began with a solo piano version of Bananarama’s ‘Robert De Niro’s Waiting’ which was then sent on a very long journey through modular synth patches and FX chains until it became the unrecognisable to the original and the majestic beast it is now. The album centres round the colossal 16- minute-long ‘Career Test’, a dynamic trip through glitch-enhanced noise, machine dub and the ambience of amplified rock music, to a transcendent, mind-expanding modern raga.

Like an industrial Gamelan played by a future civilisation who have never heard it, only read about it in ancient books, the song is formed from bowed treated guitars, hypnotic hand drums, water bowl and bells. It also has a suitably macabre genesis, as Register reveals: “I was visiting my aunt's house and slept in her bedroom. In the headboard of her bed are places for curiosities and heirlooms. In these spaces she had box after box of the ashes of pets of hers that I had known over the years…”

WHITE COLORED VINYL

9-piece powerhouse Nubiyan Twist embark on a fresh musical odyssey with their vibrant fourth album "Find Your Flame". Over 12-track the band seamlessly weaves together global grooves, soul and jazz; expertly intertwined with electronic elements, horn-led melodies and spontaneous improvisation. The album marks a significant evolution for the group as they welcome Sheffieldbased vocalist Aziza Jaye to the forefront, adding a fresh dimension of Patois and RnB to their sound.

Howlin’ Wolf was the primal force of blues music spun out to its ultimate conclusion. He was an imposing presence, blessed with a thunderous voice and enormous physical strength. Like his friend and rival Muddy Waters, Wolf transformed Mississippi’s archaic country blues into the electric urban blues of Chicago, his adopted home. Presented here is his outstanding debut album for Chess Records, Moanin’ in the Moonlight (1959) – one of the alltime cornerstones of the genre.

Québec's own CANTIQUE LÉPREUX are back with their third full-length album "Le bannissement". It is a tale of self-initiation, a rejection of society, and a glorification of nature - manifested in their signature style of swirling tremolo-guitar-riffs, tortured screams, and elaborate melodicism. Over the recent years they have established themselves as an essential act of the Métal Noir Québécois scene. They channel the evocative power of Black Metal, carrying vast forests, desolate landscapes, impassable mountains, and cosmic torment. The band members are also associated with Mêlée des Aurores, Chasse-Galerie, Acédia, Manière Noire, Chaos Catharsis, Forteresse, Délétère and Au-delà des ruines.

"Le bannissement" tells the abduction of a young girl and the sickness that is forced into her. Tainted, and rejected by those who should have protected her, she flees to wild and unexplored land, where she shatters and mends herself continuously. In these countless battles, she severs her bond to reality, subverts the sickness, and overthrows those who had seized her innermost Dream. Through banishment, liberation.

The album presents a raging and hypnotic narrative. Fast-paced songs drag the listener in a wild hunt, rushing towards self-annihilation. It was interpreted with the band's live line-up and equipment to preserve the fierceness of the mindset it was composed. This raging maelstrom, built on alluring melodies, shows guitarists Blanc Feu and Ascèse's fascination for music history and musicology. The album's emotional power stems not only from black metal's common genre tropes but also from the austere grandeur of early music.

METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.


Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Bone White opaque + Black Galaxy effect vinyl in dub style jacket (jacket sleeve with centre hole cut out so label shows throug
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all.

Woven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth" orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.

If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Following the force of their introductory singles 'Tabernacl' and 'St Agatha', the band return with an invitation to explore their landscape of violent poetry and gothic propulsion to the fullest extent yet. Prepare to be lulled under their spell once more with the slow-burn of forerunning single, 'Remoter Heaven'.

Produced by long-time collaborator Buzzard Buzzard Buzzard's Tom Rees. It begins in a dream state of hypnotic repetition that mounts in intensity, with vocalist Jack Shephard presiding over it all with his distinctive, poetic drawl. His protagonist is revisiting a memory of the pain inflicted by a thorn as a child; "I was awake with feeling", he confesses, before the song takes on the momentum that feels like a triumph over the numbness attendant to adulthood.

Of the track, Shephard shares: "I liked the idea of writing a very simple narrative to a big, epic song - something as modest as the story of a child playing in some flowers and then bursting into tears when a thorn pricks their leg. The words are an ode to that sensitivity we embrace when we are young. Then, when we become adults, we insist on subjugating all of that wonderful, absurd rage."

'Remoter Heaven' follows on from 'Tabernacl' and 'St Agatha' which earned Slate rave write-ups and support from publications including NME, CLASH, So Young, DIY, Buzz Magazine, The Most Radicalist and more, as well as early radio plays from the likes of Huw Stephens and Steve Lamacq on BBC 6Music, Matt Wilkinson on Apple Music 1, John Kennedy on Radio X and Jack Saunders on BBC Radio 1.

Before Circus Lupus landed on DC’s venerable Dischord Records, the group’s original Midwest lineup recorded a full album’s worth of songs less than a year after forming. With the demise of DC’s Ignition in the late ’80s, bass player Chris Thomson headed to Madison, WI for college. Before leaving DC, he dove headfirst into being a vocalist fronting the short-lived throwback punk / hardcore project Fury. Thomson served up pointed and profound Tony Cadena-inspired screeds about betrayal, disappointment and poseurs all set to a soundtrack of furiously primitive and chaotic music supplied by members of the DC punk band Swiz. Brief yet influential, this band marked Thomson’s switch to vocals, putting him on course to front Circus Lupus and claim a notable spot in the DC punk timeline of the late 20th century. Soon after arriving in Madison, Thomson was invited to join a new project started by friends Chris Hamley, Arika Casebolt, and Reg Shrader. Circus Lupus marked a change in direction from the familiar sounds of DC punk that Thomson had been associated with for years. The newly formed group looked to noisier Touch & Go and Homestead bands for inspiration, aligning themselves with bands from Chicago, Louisville and Milwaukee. One early supporter of the band described the new group as “profoundly familiar yet uncategorizable. Like if the Germs had gone to college and never got pulled into hard drugs and suicidal behaviors.” The original Circus Lupus lineup played a dozen shows and recorded these songs with Eli Janney at Inner Ear studios in August of 1990 while on a brief tour. Within a year, the band would decide to permanently relocate to Washington DC, where they felt they had more opportunities. Shrader opted to move to Chicago and would ultimately join the Touch and Go band Seam. Old friend Seth Lorinczi (Vile Cherubs) would become their new bass player, forming the version of the band that most listeners are familiar with. While a few of these ended up on their first single, the rest were shelved, some later to be rerecorded with Lorinczi and released on Dischord. L.G. Records is proud to have helped this notable recording see the light of day. The original tapes were recovered by Ian MacKaye and transferred by Darren Edwards. Tim Green remixed and remastered the original recordings at Louder Studios in California.

* The Blackstones were formed by Leon Leiffer in 1974. Since the initial group formation, there have been several line up changes, currently the group consists of: Leon Leiffer, Tony Mahoney, Jr. Bailey, and they have recently been joined by A.J. Franklin (Chosen Few, Federals). On tours they have supported Curtis Mayfield and the Impressions, Rufus Thomas, Dennis Brown, Owen Grey, John Holt, Alton Ellis and many more Soul / Reggae greats.

Over the years they have worked with many notable Jamaican producers, Count Shelly, Fatman, Phill Pratt, Lloyd Charmers, Lindel Lewis, Tony “Ruff Cut” Phillips, Winston Curtis, Jah Larry, Tony Owens, and the late great Bunny ‘Striker’ Lee and the legendary, Clement "Sir Coxsone" Dodd, at Studio One in JA.

This release features two rootical vocal sides of their consistent repertoire. The 4 track EP features a re-work of “Selection Train” (Orig,”Selected Few”-JA) and “Hell & Heaven” (Orig-Lloyd Clarke-JA). The vocal tracks are replete with Instrumental Versions from Alvin Davis (Horns / Steven 'Marley' Wright (Guitar) / Asha B (Perc/Congos)..

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Senrna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

Very limited black copies with a few colored copies available via the Wex bandcamp, be quick!

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.

There was a long time I considered Raymond Richards the ultimate secret weapon. There were sounds he could make that other people just couldn’t. Pure, whole, yet complex sounds. The pedal steel is an extremely niche instrument outside of its Country confines, but its sheer and transcendent depth has never failed to floor me. Raymond’s ear for implementing the steel into literally 'anything' has always been uncanny. After decades of being savvy to his work ethic, multi-faceted studio skills and overall sense of musical honesty, it became a priority for me to channel some of this into narratives through the ESP Institute and get his stories told. Without further recounting the history and trajectory of our musical relationship (see the press release for 2020’s critically-acclaimed album 'The Lost Art Of Wandering'), I can whole-heartedly confirm this sophomore release, 'Sand Paintings', opens an even wider door into Raymond’s visceral, contemplative world. The cast of players has elaborated to include Calexico’s John Convertino on drums and percussion, a bevy of eccentric stringed instruments and even a hint of brass to collectively stratify context for the pedal steel. Through diversifying the timbral palette, we invite an increased soundstage acuity but also reveal untapped wells of emotion for the listener, perhaps even testing cultural literacies. One foot remains in our established ambient realm, while the other steps toward grand cinematic gestures, and despite the dense, insurmountable emotion in these songs, there is a stoic singularity, like a lonesome cowboy pulling up his boot straps to endure another day. 'Badwater Basin' opens with courage, an enormous chord evoking Raymond’s image of “hard dawn”, but in navigating through the dramatic depictions of 'Monument Valley', 'Saguaro' and 'Deer On Hwy 80', we grapple with a cloaked vulnerability—weathered by the elements, beaten down and alone, yet still madly in love with the world. —Lovefingers

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

Sleap-e is reclaiming herself. The Italian singer-songwriter’s second album, 8106, captures the spirit of play; the child-like instinct to pursue what you love without compromise - and here it is, that particular magic that rarely survives adulthood, remarkably intact. Each of its eleven songs are vibrant shards which build a mosaic of Asia Martina Morabito’s world: the growing pains of your early twenties, remaining faithful to your dreams despite the hostility of adulthood, places of escape both real and imagined - and the pulse of Bologna, her home and north star. As a student of old-school iconoclasts like The Fall and inspired by the outsider streak of Jimmy Whispers and Daniel Johnston, it was not any particular musical quality of theirs which Asia wanted to channel in Sleap-e, but their confidence to “explode in a raw, free and authentic way.” Though her sound has shifted from the tender bedroom pop of her 2020 EP Mellow and her 2022 debut album Pouty Lips which was bedecked with jubilant brass and Mediterranean rhythms, it’s her self-belief which endures. 8106 is Sleap-e’s most raucous, unpolished and playful offering to date, steeped in the influence of “egg-punk”, an internet-grown genre which seeks to satirise the tropes of punk with its danceable irreverence. There is joy to be found, Asia feels, in refusing to conform, and it has brought her closer to herself than ever before. But to gain her sense of self, first, she had to lose sight of it. Summer of 2023, when the outlines of the record were made, was a difficult time for her. 8106 was the number of the hotel room she felt confined to, alone and adrift from comfort when she was working away from home. Writing this album was her getaway car. “It represents an important choice I made,” she explains. “I chose happiness. I chose myself.” The title represents a kind of mental post-it note reminding herself to stay focused on what she loves; it’s a talisman to protect her from hard times. She returned home, and there she began recording the album in residency at the Bronson Club, a hive of like-minded creatives and mentors who helped it take its final form. At home, her own music was played freely and instinctively. The artwork for 8106 is by Noemi Vola, a prolific Bolognian illustrator and author who specialises in designs for children, which reflects the “funky, fairytale mood” of the record itself.

2x7"
Not so long ago Marlena Shaw was a forgotten figure. The talented vocalist had made several LPs for respected labels such as Cadet and Blue Note, and she'd performed regularly throughout the '60s and '70s. But she hardly had what you might call diva status. Falling into the unfortunate category that slips uneasily between soul and jazz, she was accepted - but not especially admired - by aficionados of either genre. Then came the '90s, and an open-minded enthusiasm for soul and jazz - and more importantly - everything in between - soon changed that. Marlena Shaw became an icon, and the diva status soon blossomed amongst her new-found soul-jazz fans.

Respect is a word that means much to any singer. The artist who stands up in the bright lights before an audience that has handed over their hard-earned cash has only their physical presence and naked voice to rely on. There is no hiding when you're on stage, you're the focus of attention and everybody is gawping at you. The singer yearns to communicate and entertain, and in return not only asks for appreciation and acceptance, but respect. To this end Marlena Shaw has endured decades of singing in the shadows, and she has only recently finally found her niche.

On Disc One we have 'California Soul', probably the most enduring and well-known of her many songs, but just a few seconds listening will tell you that it is much more than that. It's already a classic amongst those who have already seen the light and have danced and swayed to its timeless swing. Upon hearing it all lovers of soul, jazz – or any other kind of good music - will feel an aural glow as warm as the Californian sun. The song 'Liberation Conversation' on the flip was only ever available on her highly revered 1969 LP 'The Spice of Life'. This is where the 'Blues ain't nothing but a good woman gone bad' launches into an irresistible, relentless uptempo funk groove.

Disc Two showcases 'Wade in the Water', an ancient song rumoured to have been developed and popularised by slaves in the American south. The message is to pass on the notion that by fleeing in a bid for freedom through streams and rivers, the scent that bloodhounds use to follow their victims will be obscured. Marlena's version has long been a favourite dancefloor filler since its 45-only release back in 1966.

'Woman of the Ghetto' is one of her best-known songs and ends the set on the other side. The opening number from 'The Spice of Life', it's since been recognised for the classic it is, and as such has been afforded anthemic status. We release the original 45 version here, as used to promote the LP back in the day.

This special 2x7" product from Jazzman is dedicated to the memory of Marlena Shaw, b. 22 September 1939, d. 19 January 2024.

The third studio album from Rebecca Downes with 12 new, original blues-influenced, rock tracks all written by Steve Birkett and Rebecca. Album mixed by Bill Drescher and Chris Childs. With exciting new material that continues the evolution of the music towards rock, More Sinner Than Saint is worth the wait. At the outset, Downes consulted with producer Chris Kimsey, who has previously worked with The Rolling Stones, to select and refine the 12 tracks and to achieve what she and co-writer Steve Birkett see as the perfect expression of their current writing. With five of the fabulous tracks having been mixed by Californian based Bill Drescher, whose previous accolades include working with Rick Springfield and The Bangles, Downes showcases her trademark powerful vocals throughout. With the remainder of the tracks being mixed by Thunder’s Chris Childs, the pedigree of this album is faultless. With her superb studio band that includes Dan Clark, Lloyd Daker and Magnum’s Rick Benton, there was no shortage of artists queuing to join her on the odd track or two. The multi award winning Alan Nimmo (King King) plays guitar on If I Go To Sleep and Magnum’s Tony Clarkin delivers a fabulous guitar solo on Breathe Out. With her signature voice, style and song writing, it was little wonder that last year she was voted Female Vocalist of the Year at the FORM UKBlues Awards. The release of this jubilant new album once again gives her the chance to showcase her formidable powerhouse and gutsy vocals in tracks that have greater range and depth than anything she’s done before. Rebecca said: “We were honoured and humbled to receive Chris Kimsey’s guidance. He gave us confidence about the direction of our writing changing to a rockier sound and advice on the way the material should be recorded. Meeting Bill Drescher in LA was fantastic – such a lovely, down-to-earth guy – and his mixing took the five tracks to the next level. Chris Childs has since done an excellent job on the rest in matching Bill’s mixing style. We are very proud of this album – and the way the music has evolved towards rock. More than ever before we believe it captures the best of our song writing.”

The Finnish-Swedish composer and pianist Iiris Viljanen, has through her honest and fine expression, achieved success with everything from her Grammy-winning album "Den lilla havsfrun" to a role, and composer, in the theatre production "Det vilda”. Recently, she was at everybody’s attention and gained success at the Peter LeMarc tribute concert in Tele2 Arena in front of a 16,000 mesmerised audience. Later this spring, she goes on a performance tour together with Stina Ekblad. A performance based on her new album "Själsligt upvakanden vid Slussen". An album that enchants with honest, dreamy but concrete songs performed by an almost groovy band. An album where the darkness is accompanied by hope. She has never really sounded like this before, not so directly, alive and embracing.

12. Mr Black Sheep (LPX Bonus Track)
13. Chain Gang Pimpin (LPX Bonus Track)
14. The Mix (LPX Bonus Track)
15. Not The One (LPX Bonus Track)
16. Standing Ovation (LPX Bonus Track)

"Black Sheep" bringt einige der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa, der vollends seine Vielseitigkeit nutzt: melodische Hooks, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und mit allen - von Honey Dijon über Injury Reserve bis Rye Rye - zusammengearbeitet.

In 1993 American guitarist / producer Charles Normal was traveling in Europe with Guns n' Roses. When they arrived in Norway, Charles arranged a meeting with the Oslo based underground band Sister Rain. There was an immediate kinship between the two bands, and the next day members of both bands went into a recording studio and wrote a song together. The result was the genesis of The Merchants of Venus, a band formed by Normal, Guns' keyboardist Dizzy Reed, and Sister Rain members Aslak Nygren and Rune Annaniassen. Normal stayed in Oslo while Guns n' Roses continued on their tour, and eventually negotiated a contract with Warner Music for a full album release. Recording commenced in Hollywood, California in late '93, but was brought to a sudden halt when the Northridge Earthquake destroyed their studio and master tapes on January 17, 1994. Warner flew the band back to the safer environs of Oslo where the entire album was rebuilt from the ground up. The result became Wish Across the Land. Now 30 years later, the album is remastered and released on vinyl for the first time, and features unreleased bonus material.

Noir Brésil is the debut album from Franco-Brazilian artist, composer and producer Yndi. Formerly known as Dream Koala, she decided to retire the moniker back in 2017 and began writing what ultimately became Noir Brésil, a modern pop album where afro-Brazilian percussion meets French and Portuguese poetry to create an immersive soundscape. As Dream Koala, Yndi released EPs Odyssey (2013,) Earth. Home. Destroyed. (2014,) and Exodus (2015,) as well as popular single "We Can't Be Friends", gaining her international success and garnering multi-millions of streams across platforms. In 2020, there were so many images of black people suffering on social media. After that traumatizing year, Yndi needed images showing that being black wasn't only about suffering, she wanted healing images. It's exactly what the Afro-Brazilian culture has been doing for centuries, it conveys a strength that keeps us alive in a dehumanizing society. The title track "Noir Brésil" is a poem for her ancestors. Yndi wrote "Amazona" on an atabaque (Afro-Brazilian percussion) rhythm inspired by the myth of the Amazons, warrior women, and Douanier Rousseau's painting La Guerre. The violence of the lyrics contrasts with the melancholic harmonies. The song pays tribute to the anger and strength required by women to live in the contemporary world. The song "Novo Mundo" and its animated video directed by Nina-Lou Giachettia are a reflection of Brazil, through luminous and colorful landscapes. Here the evocation of the divine, the beauty and the violence of nature reflects perfectly the essence of Yndi'sdebut album.

Having flown in from Tbilisi, Anushka Chkheidze found herself completely alone inside the empty and as yet unoccupied University of Basel's Biozentrum: just her, a piano, and the surrounding spaces. Over a two-week period the young Georgian musician and composer was able to explore the building, designed by Ilg Santer architects, with the piano, microphones, a mixing deck, a computer, and her voice. She also assembled a small choir from the Schola Cantorum Basiliensis music academy in Basel, who performed in an auditorium in the basement.

Anushka used her field recordings and compositional ideas from her on-site sessions to create the music for this album in the studio in Tbilisi, Georgia. The eight tracks are an acoustic and associative journey through the Biozentrum with a nonvisual form of perception: she encountered eight very different places in the building, and the spatial acoustics and nonvisible interior spaces all play their part.

'Clean Clear White' was mixed by Taylor Deupree (Pound Ridge, New York), mastered by Christoph Stickel (Vienna), cut by Sidney Claire Meyer at Emil Berliner Studios (Berlin), and pressed on 180 gram black vinyl by Optimal Media (Röbel/Müritz) with love and care to audiophile standards.

The 12 songs that constitute Dreams, the third full-length from the Kaohsiung trio Elephant Gym, explore the deep spacetime continuum that consciousness cannot capture. Beyond the trio’s staple instrumentation of guitar, bass, and drumset, Dreams blends in wind instruments, traditional drums, and Taiwanese narrative. Through collaboration with Hakka singer-songwriter Lin Sheng Xiang and pop musician 9m88, notable for their accomplishments in jazz, soul, and R&B, Dreams is a sweeping narrative about a fantastical dream that crosses the boundary. After pressing play, please do close your eyes, and enjoy the dream

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

Isaiah Collier & The Chosen Few return with a new musical journey, "The Almighty". The first quartet offering since 2021's Cosmic Transition.
Collier's compositions and lyrics focus on using music to communicate deeper principles that are part of everyday. Isaiah showcases these principles through sounds that evolve within the titles: Love, Compassion, & Perspective. These principles once taken fully in are arranged to deliver the message that there is a Divine energy connecting through us all and is seen within all things. The album opens up with LOVE, featuring the legendary Chicago vocalist Dee Alexander channeling her energy to deliver the message of love to the human family. With lyrics written by Collier specific to Alexander's qualities as a maternal figure to him and other musicians, the message remains strong within the music throughout the album. Searching deeper to share more sincerely through our interactions with others, is the albums objective. Collier & The Chosen Few showcase those Principle with Musicianship and an unyielding commitment to put their all into each breath of this episodic journey. The album features the legendary Saxophonist Ari Brown, who has mentored Isaiah for over a decade in their native Chicago. The conversation between student and master evolves on the song "Compassion". Collier's steps into the vocalist roll on the infectious, Perspective (Peace & Love) which serves as Collier's acknowledgement of Pharoah Sanders for his musical contributions, that features percussive sounds that connect the ancestors of the diaspora. Throughout "The Almighty" the group explores elements heard on 2021’s Cosmic Transitions and 2022’s Beyond by I AM (Isaiah Collier and Michael Shekwoaga Ode), and streamline the sound with laser focus in this incarnation.

Stuck in the depths of a dark alley, blocked by yet another breeze, hitting a stone wall, road sign ahead: Dead End.
Impasse. "Cul-de-sac".
Hip‐hop. The original, some would say, official music of the late 20th Century Bronx.
Some say it has endured it's fair share of distractions, detractors and defectors. Some say it has murdered itself, having been abandoned by its so‐called best men, those who have gone off in other directions, or who have, simply, just beat‐retired. Yet, there are plenty of Soldier Monks still out there, prepared to sweat it out in the Temple of Machinery and Mics.
Low Cut honored this cause four years ago, with his MPC crafted minimalist version of NY Minute and he's back to ring the bells and unsheathe the samples!

The starting point of Dead End's production remains the 90's boom-bap, but the will to carry it even further brings it to its destination. By decorating it with rich samples flushed out after digging through vinyls pressed several decades ago, it is guided by a compass pointing deposits to the East. With sound quality inherited from a fastidious composition and mix works, using inspiration rather than just being a copycat, Dead End celebrates it without setting it up as a museum piece.

Picturing the beatmaker stuck in the depths of a dark alley, ended with a brick wall, is easy. But far from isolated in his Parisian basement, Low Cut has rung phones in New York, Baltimore and Detroit, rounding up the faithful. He magnetized the hidden but sharp forces, and gained attendance of legends. The casting of Dead End : Ruste Juxx & Nutso, Dirt Platoon, Guilty Simpson, Torae, Rasheed Chappell and the stainless Masta Ace, among other beat crushers. Also starring DJ Duke, Nix'on, Topic and Ordoeuvre with their DMC titles crates, for a deep beatfight on bars scarified of scratches.
Heavy atmosphere, martial beats and street soul, Dead End is also the final episode of the projects initiated by Low Cut, based on the model of a producer inviting various MCs.
He will then replace his turntable needles, refresh his sample banks, and settle the BPMs of his productions on more abstract frequencies.

"In partnership with Rob Zombie and Lionsgate, Waxwork Records is thrilled to present The Words & Music of HOUSE OF 1000 CORPSES! From the mind of Rob Zombie, this unique double album features a first-of-its-kind movie soundtrack experience by presenting the complete audio to the iconic 2003 feature film, HOUSE OF 1000 CORPSES as an immersive deluxe double LP set.

Pushing the boundaries and exploring new and inventive ways of collaborating, Rob Zombie and Waxwork are excited to deliver the complete Words & Music of HOUSE OF 1000 CORPSES from the film's opening credits through its credits crawl as an interactive read-along experience for fans of horror, vinyl records, and comics! Featuring all new artwork by Pete Bregman, deluxe gatefold packaging, an 11""x11"" 28-page booklet, printed inner sleeves, and a heavyweight character cut-out sheet to create your very own House Of 1000 Corpses spookshow!

HOUSE OF 1000 CORPSES is a 2003 American horror film written, co-scored, and directed by Rob Zombie in his directorial debut. The film stars Sid Haig, Bill Moseley, Sheri Moon, and Karen Black as members of the murderous Firefly family. The film explores multiple genres including horror and exploitation, and it was initially shelved by the movie studio for its graphic amounts of blood and gore, as well as scenes involving torture and necrophilia."

"The Words & Music of House of 1000 Corpses" by Rob Zombie includes the following tracks: "From "These are all my Dolls."" and more.

This version comes as a 2xLP Set in a Printed Inner Sleeve packaging + Comic Book.

The vinyl is pressed as a swirl, orange & purple & green vinyl.

It’s been over seven years since The Rifles released their previous record, but now the east Londoners are set to return with their new album ‘Love Your Neighbour’ on April 26 which they today preview with the new single ‘The Kids Won’t Stop’. Their previous two albums - ‘Big Life’ and ‘None The Wiser’ - achieved the highest chart positions of their career to date, while their cult-like popularity has continued in the intervening years with countless sold-out London shows at venues including the Roundhouse, O2 Shepherd’s Bush Empire, O2 Kentish Forum, KOKO, Electric Ballroom and Electric Brixton. The triumphant reaction and electrifying energy of those shows inspired The Rifles as they sent about writing ‘Love Your Neighbour’. It’s a record which bursts with the traits that have inspired such devotion amongst fans: songs as gritty as they are anthemic, and full of lyrics which capture broadly relatable experiences and provide evocative snapshots of modern British life. The overriding message of the album is a plea to embrace the power of your local community

Disco Segreta breathes new life into two of the most elusive and coveted italo disco tracks of all time!

Originating from the paradisiac island of Sardinia, Italy, Susy Pintus embarked on her musical journey alongside her brother at Radio Cagliari Centrale, one of Sardinia’s very first “free radios,” which opened its doors in 1977. Her singing career took flight in 1978, and by 1979, she attained national acclaim with her single “C’Est Magnifique,” a disco reinterpretation of the renowned Cole Porter track.

However, Susy’s most sought-after single undoubtedly remains her 1986 italo-disco 45 featuring the tracks “Fragile” and “Live for Your Love”. These compositions, expertly arranged by Italian jazz piano virtuoso Danilo Rea and superstar musician Aldo Tamborrelli, weave a captivating tapestry of sound using instruments like Yamaha DX7 and CP80, Roland Juno 60 and JX 8P, as well as the omnipresent Linn 9000. The result is a distinctive blend of italo-disco, synth-pop, and a touch of the “balearic” vibe.

Originally released in a limited run of 1500 copies on a 45, these tracks have become exceedingly rare over time, finding their way into the wishlists and collections of discerning italo-disco enthusiasts.

Now, Disco Segreta proudly reissues these two exceptional italo disco gems, granting them the expanded 12” treatment they rightfully deserve.

This deluxe edition includes the original tracks, meticulously remastered to meet contemporary standards without destroying the feel of the originals, along with two remixes of “Fragile” and “Live For Your Love” by Italian wonder Cosimo Mandorino aka Cosmo Dance.

For KING + COUNTRY musicians Joel and Luke Smallbone just announced the April 26 release of their “The Inspired By Soundtrack” album, based on their upcoming movie UNSUNG HERO. “The duo drops their latest track from the soundtrack today, ‘Crazy,’” The Christian Beat reported on Tuesday, “featuring the Smallbones and GRAMMY Award-winner (and sister) Rebecca St. James, along with a soundtrack version of the title track, ‘Unsung Hero.’”






[d] To Hell With the Devil (Rise) [With Lecrae & Stryper]

Prolific singer-songwriter Kathryn Williams and recently reinvigorated troubadour Dan Willson (aka Withered Hand) have announced a collaboration album, ‘Willson Williams’, out April 26th.

‘Willson Williams’ witnesses the meeting of two likeminded musicians who’ve built their successful, independent careers on inventive folk instrumentation, reflective and sincere lyricism, and not a small amount of self-deprecation. Their modest confessionals, written poetically and over nostalgic and atmospheric melodies, are as relatable as ever, and together they find new ways to unpack their feelings.

One overarching theme on the album is that of grief, when the writing process saw them both, tragically, in mourning for separate loved ones; Dan for his brother Karl and his friend Scott Hutchinson of Frightened Rabbit, and Kathryn for her friend, comedian and BBC Radio 4 presenter Jeremy Hardy. They explain that “the initial premise and starting point for us was discussions and open conversations on bereavement. We’d both recently lost friends who were also in the public eye, and we talked about the strange place between personal loss and the communal grieving of a public figure”. Contrastingly, the music on ‘Willson Williams’ is warm, heartfelt and even cheerful, an opposing nature that is completely in keeping with both their humour and candidness.