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Eva Louise Goodman’s Nighttime project locates itself on a musical tree planted on the British Isles, perched atop the branch of folk leaning into sixties rock. Her upstate New York environs don’t stray far from that image. With tempered percussion, floating mellotron, and singing that evokes Bleecker & MacDougal on a fervent Saturday afternoon, her new album Keeper Is The Heart reaches deep into the essence of musicians such as Vashti Bunyan, Sibylle Baier and Pentangle, breaking down the decades into a sound thoroughly and bizarrely modern.

Through her years performing with Mutual Benefit, Goodman fell in love with life on the road and the collaborative energy of a band. In this third Nighttime album, she channels these experiences into her own music. The creative journey from writing to recording to mixing drove her deeper into a sense of self while expanding her sound. In the process, she put aside lo-fi origins and challenged herself to achieve the same intimacy with a bigger production.

Like most paths of self-discovery, the journey started with displacement. In October 2019, Goodman set out to record the album on her own, while cat-sitting at a friend’s empty Brooklyn apartment. Rather than recording, she was drawn to the overgrown garden, where she spent her days listening to music and reading old journals. Charlie Megira, The Incredible String Band and Roy Montgomery invoked the spirit of the album, as she realized that a new, more collaborative approach would be necessary to bring the songs to life.

In March 2021, after a pandemic year immersed in sound experimentation and writing, she entered the upstate New York studio of recording engineer Rick Spataro (Florist). Together, Spataro and Goodman dove into creating the album, recording one song a day, letting the spark and excitement of spontaneity be their guide. “I've always been fascinated with ‘automatic’ arts,” Goodman says, “where things are created intuitively and without premeditation, from the subconscious.” In this light, they worked with abandon–pushing through the heaviness of songs written years earlier with the same energy as songs which were not yet fully developed. Taking chances, improvising, they sought to strip away pretense, and elude perfectionism at all cost.

Among their experiments, the duo manipulated tape speeds–slowing or speeding up different instrument tracks, imbuing passages with altered perspectives. Improvisation was the key in track five, ‘The Way,’ a song about “the magical act of carving out a path through life, amidst all possibility.” After a long day of recording, the song was feeling heavy and uninspired. As night fell, Spataro picked up the Stratocaster and, in one take, laid down a rolling, roiling guitar line that defined the track.

This spirit of surrender weaves through the album. “Break free from time, and sink in the pool of the mind,” begins ‘Garden of Delight’, an energetic highlight, propelled by 60’s-era organ and Jefferson Airplane-esque vocals. The song was accidentally deleted after the first day of recording. By luck or fate, the one surviving file captured the song’s loose and free-wheeling essence. Inspired, Goodman encouraged her circle of collaborators to work similarly: “I gave everyone trust and total freedom to contribute as they felt called to, encouraging an intuitive approach of simply improvising, playing through the song a few times and then sending over the results.” Synth, cello, violin, saxophone and flute all appear, but often in unconventional ways.

Keeper Is the Heart reflects Goodman’s process towards greater creative freedom. The first words she sings: “Lift the veil of all of this hate/To see the fear at its base.” Her last lines: “We’ll follow the fates across the great expanse of time/To the source of the light within our mind.” In between is a work of art awash in personal awakenings that revel in the freedom of intuition, the lifting of veils, and the beauty of transformation. As Goodman states, “What is it you find when you look inward to see beyond, past your fears, to your heart's true desires?”

1000 black vinyl LPs. London-based ‘indie-supergroup’ SUEP announce their long-awaited debut mini-album Shop, a collection of 6 oddball, car-boot-sale pop songs with a sprinkling of theatrical storytelling. Led by Georgie Stott (of Porridge Radio, Garden Centre) and Josh Harvey, SUEP was born out of a near-decade of playing in sheds and barns with like minded personnel, holding a mutual love for Paul McCartney, Jona Lewie, the B-52s, Devo and other performative freaks enjoying themselves. Following a move to London from Brighton, the pair added George Nicholls (The GN Band, Joanna Gruesome, The Tubs), Will William Deacon (PC World, Garden Centre), and Ollie Chapman (Boil King) to the line-up. The 5 piece take turns writing songs and taking the lead vocal duties in a wonderfully playful but coherent collaboration, with their debut being a kaleidoscopic off kilter pop ride, taking the listener through haunted castles, deprived encounters, days lost to the imagination in bed, and through the integral friendships that give SUEP the energy to keep dancing to their own beat. The album was arranged and recorded in the Red Lion Boys Club, an ex-youth centre in which Georgie and Josh both lived. Using equipment collected by Josh in his travels as a bootsale and market trader, the sports hall was transformed into a makeshift studio for a few days, with sessions conducted by producer Matthew Green (Sniffany & The Nits, The Tubs, etc.) Mark Riley (BBC 6 Music) described SUEP’s debut single and album opener, ‘Domesticated Dream’ (2021) as “perfect pop music.” The joyfully kitsch track brims with a 70s Yamaha disco beat, deep bass, nostalgic drum machines, and hooky melodies. Possibly the most psychedelic and infectious track born out of lockdown, it tackles homelife, drinking too much, and making big plans that never come to fruition, but with a big technicoloured positivity for the future of the human-race, with the chorus’ refrain, “the psychedelic 4000s,” predicting the return of the psychedelic Age of Aquarius in a couple of millennia time. The following single ‘Misery’ (2021) is pure cosmic swing-pop wizardry in part inspired by spy music and The Supremes. Ollie, The track’s baritone vocalist, describes it as “A love song disguised as a song about loss. It's about cherishing the things that matter but it’s also about having the courage to say goodbye,” with each line of the song a small story about a different character. Whilst latest Shop taster ‘In Good Health’ is darkly euphoric like a pleasantly strange meeting of Siouxsie Sioux and Jona Lewie. It’s a playfully discombobulating mix of 80s jangly guitar, chirpy keyboard and moody post-punk tackling mental health, drug addiction, and the power of friendship, written after the song’s vocalist Georgie came out of hospital following a mental health crisis. “I wanted to write a song that encapsulated how important my relationships with my friends and boyfriend were at that time” she explains “…and one that also felt dark like I did at the time. I couldn’t go outside due to anxiety surrounding my health so I stayed inside for weeks. People would visit and watch films with me or let me tattoo them or make music with me. My community helped me recover.” Elsewhere on Shop is ‘Just The Job’ fronted by Harvey and described by him as “About the relief of accepting a menial existence, and allowing life to be boring - but (within that) how the small things are the important ones, how pulling a sicky or extra long lunch break are important things to do for yourself. It’s an anthem for working people who’ve had enough - and a crowd favourite at SUEP gigs. The darker undertones and post-punk angles of the Georgie-fronted ‘Onions’ is inspired by the crapness of cliques, with the band calling the song “A cry of welcome to all;” and finally the hooky ‘Friend of Mine,’ described as “A love letter to all the people that come and go throughout your life no matter how long you know them”. SUEP have received coverage in Independent & Clash, (among many others), with big support from Mark Riley and Steve Lamacq (BBC 6 Music) for early singles.

• There was plenty of genuine discontent in Britain at the tail end of the 1970s, and it had little to do with bin strikes or dark rumours about overflowing morgues. In the world of popular music, the most liberating after-effect of the Sex Pistols was that anyone with something to say now felt they could make a 7” single. “Winter Of Discontent” is the sound of truly DIY music, made by people who maybe hadn’t written a song until a day or two before they went into the studio. It’s spontaneous and genuinely free in a way the British music scene has rarely been before or since.

• “Winter of Discontent” has been compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, the latest in their highly acclaimed series of albums that includes “The Daisy Age”, “Fell From The Sun” and “English Weather” ("really compelling and immersive: it’s a pleasure to lose yourself in it" - Alexis Petridis, the Guardian). The era's bigger DIY names (Scritti Politti, TV Personalities, the Fall) and the lesser-known (Exhibit A, Digital Dinosaurs, Frankie’s Crew) are side by side on “Winter Of Discontent”. Mark Perry’s Sniffin’ Glue command – “Here’s one chord, here’s another, now start a band” – was amplified by the Mekons and the Raincoats, whose music shared a little of punk’s volume, speed and distortion, but all of its obliqueness and irreverence.

• The discontent was with society as a whole. No subject matter was taboo: oppressive maleness (Scritti Politti); deluded Britishness (TV Personalities); gender stereotypes (Raincoats, Androids of Mu); nihilistic youth (Fatal Microbes); alcoholism (Thin Yoghurts); self-doubt and pacifism (Zounds). The band names (Thin Yoghurts!) and those of individual members (Andrew Lunchbox!) had enough daftness to avoid any accusations of solemnity.

• “Winter Of Discontent” is the definitive compilation of the UK DIY scene, and a beacon in grim times.

‘Living Rooms’ is a full-blooded debut of rich, playful, experimental pop from the artist Fe Salomon – full of unabashedly big songs and sumptuously big sounds. Fe’s soulful and arresting lead vocals weave amongst soaring strings and big band brass sections; clattering percussion and disjunctive rhythms; dirty electro synth and butchered guitar. A collaboration with producer and contemporary classical composer Johnny Parry, ‘Living Rooms’ is a true pop album with a distinct, exuberant and deeply generous sound.

Born in Northampton, Fe moved to London at 18 for a place at Theatre College; but soon left to concentrate on music and songwriting, falling quickly into the Camden music scene, and earning her a prolific career as a singer. Building on her diverse musical background and honing her unusual sonic style, this album has been percolating at the back of Fe’s mind for a long time. The perfect storm of personal and external factors thus created the moment to make it. ‘Living Rooms’ tells stories of multiple lives lived and lost

in the city, of friendships that meant everything and the characters you’ll never meet again, of transience and loneliness, and of getting by and moving on.

At the forefront of the album is an organic and fiercely honest lead vocal performance. However, Fe permits her voice to be twisted and distorted into the fabric of the instrumentation. The un-doctored lead vocals are frequently haunted by angels and demons, created through Fe’s uninhibited willingness to this manipulation, and capturing the more visceral emotions within the expression of the human voice.

‘Living Rooms’ navigates a wide spectrum of sounds and emotions. Take album opener “Polka Dot”, a track that mixes emotive vocals with an avant-garde alt/pop production to conjure a cut as stylish as it is shrouded in shadowy mystique. A track “about mourning innocence, and the darkness that’s picked up along the way, with an ‘up yours’ sarcastic tone, and not wanting to grow old”, it sets the scene for a twisting collection that up-ends expectations at every opportunity.

Elsewhere, the chunky hooks of “Super Human”, the sci-fi/country/big band of “Wired of Caffeine”, or the intimately sung vocals and Vaughan-Williams-esque string sections of “Taxicabs”, all contribute to an album that evolves like a rich and constantly surprising tapestry.

Although the conception of the album was a frenzy of wild experimentation. The album is faithful too, and celebratory of many joyous pop traditions; but searches for ways to reinterpret the familiar. And no less so than on the off-kilter centre-piece “Quintessential England”. Through wry lyricism and vivid imagination, the track paints a lucid, if lonely, depiction of a life lived out in the sticks; one that ultimately arrives at the conclusion that perhaps “the grass isn’t always greener”.

Gifted with the kind of superpowers that have blessed Alison Goldfrapp with her unwavering glam-pop allure and Stevie Nicks with that invincible soul, Fe Salomon’s empowering first release will prove she’s cut from the same cloth and ready to be your newest musical hero.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape at times calm, at times turbulent, and ever changing? H.C. McEntire’s new album Every Acre grapples with those themes that encompass grief, loss, and links to land and loved ones. And naming claiming land, claiming self, being claimed by ancestry and heritage permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In “New View,” McEntire cites poets “Day, Ada, and Laux, Berry, and Olds” fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire’s voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: “Bend me, break me, split me right in two. Mend me, make me I’ll take more of you.” Permeated by heartbeat-like drums, “Shadows” develops quiet ruminations on surrender and loss reminiscing, moving on. This ponderous, dreamlike song asks the question of how “to make room.” How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, “Rows of Clover” is a lamentation, one that touches on the loss of a “steadfast hound.” The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers–esque understated soul groove. But what stands out the most is an image of being “down on your knees, clawing at the garden” the only explicit mention of a person in the song. “It ain’t the easy kind of healing,” sings McEntire, seemingly from further and further away as her voice echoes; and healing takes time, time takes time truths that linger painfully. “Dovetail” is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire’s gentle, trembling vibrato harmonized in thirds in a celebratory manner calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions such as wonder, sadness, nostalgia that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre explores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life both stingy and gracious, both hurtful and kind.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

Orange Viny

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

Innovative horn player, producer and songwriter CJ Camerieri returns with his deeply collaborative CARM project. CARM II, the second album due out this fall with 37d03d, was produced in Minneapolis by Ryan Olson and features Edie Brickell, Sid Sriram, Kristian Matsson, Justin Vernon, Gabriella Smith, Sean Carey and others. It is a genre-defying, heartfelt exploration of the possibilities in provocative musicmaking and provides a homespace for a profound variety of voices. Where the first record used horns in place of other instruments, CARM II places them even more prominently in the musical texture. The experience of playing live shaped this approach. "Standing at the front of the stage was a new experience for me and I wanted to create a record of songs that justified my being there." On CARM II, there is no mistaking that the lead "singer" of this band is Camerieri's horn. CJ also wanted to feature bandmate Trever Hagen, who takes on both production and performance roles. The featured artists on CARM II have opined on their various roles in this project. Brickell contacted Camerieri asking him to participate in her short-form songwriting project that she introduced on social media during the pandemic. Camerieri and Olson were in the middle of writing songs for the record, and one stood out as perfect for Brickell's request. Sent as a work-inprogress, she quickly responded, writing the first verse and chorus to what would become "More and More." They knew it needed to be fully realized. Says Brickell, "CJ's trumpet melodies and phrases inspired `More and More.' I just listened to him and followed his lead, trusted what came to mind and sang it. It all flowed from his music." "For `I Fall' Ryan and I created the basic track and I really struggled to write on it. It wasn't in song form, and I couldn't find my way into making it a coherent thought." CJ thought of Gabriella Smith, one of the leading composers of our day, and on a whim sent her the track. Smith sent fragments to experiment with and send back to her as she rode out the pandemic in the Norwegian countryside. After 3 months, she then sent him a fully realized score of horns/vocals. The result is a testament to the visionary composer's incredible ingenuity. "That this music was in Smith's imagination and then fully notated is mind boggling to me." "The Ones You Love" was the last song written for the record. CJ had been arranging and playing horns on Sid Sriram's forthcoming debut, falling in love with Sriram's voice and style. The song came from a jam session at with Andrew Broder on keys, Evan Slack on guitar, Chris Bierden on bass, and Hagen on drum machine. CJ and Sid trade epic lines back and forth, celebrating vulnerability and virtuosity in tandem.

Charly Records presents THE BEST OF THE YARDBIRDS The Yardbirds blend of blues, rock and pyschedelia paved the way for heavy rock… The definitive introduction to one of the UK's most successful and influential groups of the Sixties. This comprehensive band overview draws on the hugley important Giorgio Gomelsky recordings that defined the sound of The Yardbirds during their pivotal period 1963 through 1966. The distinctive and groundbreaking blues style of Eric Clapton features on half these tracks, whilst Jeff Beck and his pioneering brand of swaggering, ear-bending, psychedelic rock takes lead guitar duties on the rest. The compilation features the group's hits from the era, including the top 10 singles “Shapes Of Things”, “For Your Love”, “Still I'm Sad” and “Heart Full Of Soul”, as well as “Stroll On” from the soundtrack to the cult 1960’s film ‘Blow-Up’ scored by Herbie Hancock. Part of a new and lavish “Best of” series highlighting the key artists in the Charly Records catalogue.

Limited Loser edition on dark green vinyl. There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

Nimrod, Green Day’s fifth studio album, was originally released on October 14 1997. The Billboard Top10 LP declared “Green Days best!” by Kerrang was driven by the hit singles “Hitchin’ A Ride”, “Redundant”, “Nice Guys Finish Last” and “Good Riddance (Time of Your Life)” the latter of which has sold 5 million copies in the US alone. The song was written as a spiteful ballad and has evolved into the soundtrack of everyone’s seminal life moments; even being featured in the Seinfeld series finale. The album has sold over 3 million copies in the US (triple platinum) and has been certified multi-platinum, platinum, or gold in several other countries, including the UK, Japan, Canada, Australia and Spain.

This 25th Anniversary Edition includes the original album, one disc of previously unreleased Nimrod demos, and a live set from Philadelphia recorded one month after Nimrod was released. The 14 track demos disc includes two unreleased Green Day tracks (“You Irritate Me” and “Tre Polka”), plus a cover of the classic Elvis Costello song “Allison” (previously unreleased). The live album was recorded at The Electric Factory in Philadelphia on November 14 1997. The 20-songset includes several songs from Nimrod, plus fan favourites from their previous albums and singles.

The Florence, SC-based multi-instrumentalist Alex Melton, known for his renditions of Punk Songs as country influenced songs on YouTube, has announced his new album 'Southern Charm'. The record, which is out 23rd January 2023, is Alex's debut album on label Pure Noise Records. Southern Charm is made up of two halves, amped-up versions of country classics and Alex's trademark alternative spin on punk and metal tracks. The album synthesizes all of Melton’s influences, from the country staples played on a loop in his childhood home through scene icons like blink-182, The Starting Line, A Day to Remember and Four Year Strong. In the first half of Southern Charm it includes covers of Tim McGraw’s nostalgic “Something Like That” (ft. Ryan Scott Graham) and Garth Brooks’ “Friends In Low Places'' the second half offerings come from The Story So Far, The Amity Affliction and Stick To Your Guns. Proficient on drums, guitar, bass, keyboards, and trumpet, Melton typically produces all of his YouTube covers at his home studio, a testament to his insatiable desire for knowledge and self-improvement – and a snapshot of how far he’s come as an artist and recording engineer throughout the years. “All of the technology has changed so much since I first started,” he says, noting his first video was a pop-punk cover of Taylor Swift’s “We Are Never Ever Getting Back Together.” “I started with a Home Recording for Dummies book and an original GoPro, which at the time was the cheapest way to get HD footage on YouTube.” Now armed with vastly more knowledge and resources, Southern Charm finds him working with outside producers for the first time, bringing in Tom Denney (A Day to Remember, who helmed the rock-based country covers) and Alan Day (Four Year Strong, who produced the country-based rock songs) to offer new perspective and add a level of vision and cohesion to the project.

Thee Headcoats and CTMF go head-to-head! Two Billy Childish bands battle it out with versions of the same song! Thee Headcoats version is taken from their forthcoming new studio album "Irregularis: The Great Hiatus". The CTMF version is exclusive to this release. Q: Two versions of the same song by different bands. Has each band heard the other version? If so, did they pass judgement? A: No, neither group heard the other version. I had forgotten how the CTMF version went - even though it was only a few weeks past. As with all the LPs there's no rehearsal. I play the track - we do a run through and then press record. I don't remember how either version goes now. Q: There's a famous saying - "Talent borrows; genius steals". Are you a borrower? A stealer? Or something else entirely? A: As I've said before, I follow strict music industry guidelines and only plagiarise 50 percent of my material. Kurt Cobain put it better - he said people thought he was original because he didn't let on what he was ripping off. Though we know he got the riff to his most famous song from The Daggermen, a local group Wolf (our drummer) played in. Q: What was it like recording with Bruce and Johnny after such a long time? A: We met up in the studio in the morning, had a cuppa, a chat, plugged in and recorded the LP (in two days.) It was the first time we'd all been together in about 30 years, and it felt like yesterday - just laughing and joking about how rubbish we were and generally having fun. It was like no time had passed at all. Q: Love the sleeve picture for this 7"! A lot of people miss the humour in your work, does that frustrate you? A: I'm not frustrated but surprised that the British seem to have lost their sense of humour somewhat - they've been pretty po-faced since 1978, I think. I was brought up on Pete and Dud when I was a kid. Interestingly a lot of comedians seem to like what we do. Stewart Lee has always been a fan and he said there are others of his ilk. If something can't be mocked or laughed at, I'm not that interested in it.

London band’s debut album (after one 7” on Prefect, and a 7-inch EP on TiM/Prefect Records (UK)). Feat. current/former mbrs of Joanna Gruesome, Ex-Void, GN, Sniffany & The Nits. London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al). “Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting

London band’s debut album (after one 7” on Prefect, and a 7-inch EP on TiM/Prefect Records (UK)). Feat. current/former mbrs of Joanna Gruesome, Ex-Void, GN, Sniffany & The Nits. London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al). “Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting

On Seeds, Georgia Muldrow takes a step back and leaves the beatmaking to Otis Jackson Jr., aka Madlib. As producers, Muldrow and Jackson are not worlds apart, so the switch requires no adjustment on the part of the listener. That said, this is one dense and tight set, barely over half-an-hour in length, and it's definitely in contention for Muldrow's most focused, funkiest, and (somewhat ironically) personal release to date. Throughout the record, the emphasis remains heavily fixated on her family as a unit of salvation and purpose. The most direct track of the lot is "Husfriend," where she honors her relationship with Dudley Perkins (a/k/a Declaime, who appears on “The Few”). Muldrow can't quite divorce the planetary and personal issues, heard vividly on "Best Love," which sounds just like a simple, sweet, straight-ahead love song until she starts asking her other half for money to build water wells on three continents ("We can make a difference if we try now"). Overall, Seeds is another left-field deviation in Muldrow's career: it's one of her most captivating and immediate front-to-back statements of purpose as a singer, but it's also the first album where she's handed over all the production duties to somebody else. In celebration of this album’s decenary run, Someothaship Connect is pleased to reintroduce an anniversary edition repress of this captivating release in partnership with Fat Beats. "Seeds strikes the perfect balance, as Madlib's thickly layered funk and soul samples and cabinet rocking beats pair with Muldrow's gloriously off-kilter vocals and free-form song structures to make this her most satisfying release to date." – Exclaim!

Little is known about Norman Feels_but we do know that he was an underground soul sensation in the 1970s. He released two classic albums on Just Sunshine Records (the label that was also responsible for putting out milestone recordings by artists like Betty Davis, Karen Dalton and Arica). Over the years, Norman's songs have been sampled by renowned acts from the likes of Ghostface Killah, Nas and Kanye West. The sound his songs emit reminds of the classic soul coming out of New Jersey at the time, but it just has that extra thing going for it_something alternative and exceptional. This made for an excellent match with the `Just Sunshine' label that released both of his albums. Just like his labelmate Betty Davis, Norman Feels was an artist that was hard to typecast and compare with his contemporaries/peers_this makes Norman's work very interesting and worth every soul/funk connoisseur's time. In 1973 Norman Feels released his self-titled debut album which has become a much sought after funk/soul classic. Behind Norman's floating (and extremely soulful) voice hides a dark and almost psychedelic instrumentation that makes this album particularly unique. The recordings have been beautifully arranged by David Van De Pitte (who is world-famous for the arrangements heard on Marvin Gaye's `What's Going On') and topped off by Sal Scaltro's slick production work. Next to Norman Feels' fascinating writing skills and trademark voice, on this album you'll find complicated (and at times brooding) compositions that takes the listener on a dreamy musical journey filled with themes about struggle, relationships and social commentary. Love, beauty and sadness is lingering in every track on this album_all of this makes his self-titled debut a total `must-have' album that begs for a special place in your record collection! Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally released in 1973 on Just Sunshine Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a 180g vinyl edition (500 copies). This reissue comes packaged in a gatefold jacket complete with the original 1973 artwork, photographs and lyrics.

15 years after the album’s release, ‘City Of Echoes’ is now
available in a deluxe 2LP edition, newly remastered by
Josh Bonati and featuring a full LP’s-worth of bonus
material, including original album demos, alternate takes,
and pieces originally only available on the rare ‘Pink
Mammoth’ EP.
‘City Of Echoes’, originally released in 2007 by Hydra
Head Records, marked a paradigm shift for Pelican.
Coming off the heels of the glacial ‘Australasia’ and their
even more expansive and acclaimed follow-up, ‘The Fire
In Our Throats Will Beckon The Thaw’, their third album is
a study in precision.
Inspired by their non-stop tour schedule following ‘The Fire
In Our Throats Will Beckon The Thaw’’s release, the
quartet composed ‘City Of Echoes’ to be a lean
powerhouse of non-stop melodic hooks and lurching
rhythms that reflected the energy of live performance.
Guitarists Trevor Shelley de Brauw and Laurent
Schroeder-Lebec trade crisp riffs that twirl in opposition
before thundering together in monoliths. The sheer
amount of potent interplay between the two, often
borrowing from disparate edges of rock and metal at a
whim before completely transforming, is mind-boggling.
Bassist Bryan Herweg and rhythm section compatriot /
drummer / brother Larry Herweg lock into a wider array of
grooves than ever before. Their considered bedrock
guides the band’s dynamics into some of the ensemble’s
most tender moments as well as their most ferocious.
Recorded by Andrew Schneider at Electrical Audio Cover.
Art designed by ISIS and SUMAC founder Aaron Turner,
with photography by Robin Laananen.
Also available to independent retailers on Translucent Blue
vinyl.

15 years after the album’s release, ‘City Of Echoes’ is now
available in a deluxe 2LP edition, newly remastered by
Josh Bonati and featuring a full LP’s-worth of bonus
material, including original album demos, alternate takes,
and pieces originally only available on the rare ‘Pink
Mammoth’ EP.
‘City Of Echoes’, originally released in 2007 by Hydra
Head Records, marked a paradigm shift for Pelican.
Coming off the heels of the glacial ‘Australasia’ and their
even more expansive and acclaimed follow-up, ‘The Fire
In Our Throats Will Beckon The Thaw’, their third album is
a study in precision.
Inspired by their non-stop tour schedule following ‘The Fire
In Our Throats Will Beckon The Thaw’’s release, the
quartet composed ‘City Of Echoes’ to be a lean
powerhouse of non-stop melodic hooks and lurching
rhythms that reflected the energy of live performance.
Guitarists Trevor Shelley de Brauw and Laurent
Schroeder-Lebec trade crisp riffs that twirl in opposition
before thundering together in monoliths. The sheer
amount of potent interplay between the two, often
borrowing from disparate edges of rock and metal at a
whim before completely transforming, is mind-boggling.
Bassist Bryan Herweg and rhythm section compatriot /
drummer / brother Larry Herweg lock into a wider array of
grooves than ever before. Their considered bedrock
guides the band’s dynamics into some of the ensemble’s
most tender moments as well as their most ferocious.
Recorded by Andrew Schneider at Electrical Audio Cover.
Art designed by ISIS and SUMAC founder Aaron Turner,
with photography by Robin Laananen.
Also available to independent retailers on Translucent Blue
vinyl.

Embracing his career path as an emcee/entertainer, CRIMAPPLE returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling.

Although devoid of any guest appearances, CRIME is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined CRIME’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where CRIME lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date”.

All in all, El Cantante is a self realization of sorts as the New Jersey emcee shares his current life perspectives as he touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

French pianist Melaine Dalibert, known for his releases on contemporary music labels such as Another Timbre and Elsewhere, his work with David Sylvian, Ensemble 0, Sylvain Chauveau, and world premieres from Gérard Pesson, Giuliano D'Angiolini, Michael-Vincent Waller, Tom Johnson, has signed with FLAU in Japan to release a new album Magic Square.

Across the album's eight tracks, the French pianist and composer takes listeners on a "fantasy journey". Travel is at the heart of Magic Square, but not of the physical kind. Instead, his emotive and intriguing piano pieces inspire inward travel and daydreaming, reflecting the past two years of pandemic and introspection.

Having received his training in Rennes and the conservatories of Paris, Dalibert has a musical background that is naturally entrenched in the technical aesthetic of classical music. However, experimenting with algorithmic ways of writing and other mathematical concepts such as fractals, Dalibert's music combines emotion and logic for captivating results. His music has been played on BBC Radio, Radio France and NTS Radio, among others.

“Melaine Dalibert, himself a composer whose works similarly deal in patience and space, is an ideal interpreter « As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language. » (Mark Medwin, Dusted Magazine, juillet 2021) of such beguilingly modest music, and this sensitive recording lets every detail resound.”
Steve Smith — The New-Yorker

“compositions by French pianist Melaine Dalibert, is a warm stream of harmonious ripples that echoes the graceful postclassical music of Max Richter, Ólafur Arnalds, Jóhann Jóhannsson, etc, but the economy and precision, combined with Dalibert’s calm hands on the keys, put it on a whole other level of beauty.”
Derek Walmsley — the WIRE

“As with his other releases, Dalibert breaks boundaries difficult to define but easy to hear, rendering and dissolving their polarities with a new iteration of his already luminous language.”
Mark Medwin — Dusted Magazine

“Dalibert is one of the most effortlessly talented and subtlety creative pianists at work today”
Roger Batty — Musique Machine

“Au-delà des genres et au dessus de ce monde, le pianiste français Melaine Dalibert continue d’échafauder une œuvre d’un autre temps, d’un futur à construire avec une musique qui doit autant à Federico Mompou qu’à l’Acousmatique. Night Blossoms, son dernier disque en date (avec la participation de David Sylvian sur deux titres) est une pure merveille !”
Greg Bod — Benzine Mag

“La musique de Melaine Dalibert, héritière de cinquante ans d’expériences minimalistes, correspond à l’impérieux besoin du public d’aujourd’hui de cultiver un hors-temps et de se plonger au cœur du son. Elle y répond parfaitement”
Guillaume Kosmicki — Res Musica

“Comment des pièces reposant sur des constructions aussi abstraites et rigoureuses peuvent-elles susciter autant d’émotion à l’écoute ? La musique de Melaine Dalibert projette l’auditeur dans un univers où l’assommant temps quotidien n’a plus cours. Plus de mesure, plus de début ni de fin : pour qui accepte de se laisser prendre, Night Blossoms fait perdre tous les repères du commensurable”
Guillaume Kosmicki — Hémisphère Son

A Jazzman’s Blues is the 2022 Netflix drama film written, produced, and directed by Tyler Perry. It stars Joshua Boone, Amirah Vann, Solea Pfeiffer, Austin Scott, and Ryan Eggold a.o. The film centers on the forbidden romance between Bayou and Leanne who are best friends. They fall in love as soon as they cross paths, however Leanne’s mother forbids their union and forcefully takes Leanne with her to Boston.

The orchestral music in A Jazzman’s Blues was composed by the classically trained composer Aaron Zigman, who has previously scored music for films including The Notebook, The Company Men and Sex & the City. He has also written, arranged, and produced for artists including Quincy Jones, John Legend, Phil Collins, Christina Aguilera, and Aretha Franklin amongst many others. The songs of this score have been arranged and produced by Oscar-nominated trumpeter and composer Terence Blanchard. He has been nominated for composing the scores for BlacKkKlansman and Da 5 Bloods.

The soundtrack features vocals by the cast members, including Joshua Boone, Amirah Vann and Austin Scott.

AJazzman’s Blues is housed in a gatefold sleeve and includes an unfolded “paper plane” insert with lyrics of Ruth B.’s song “Paper Airplane”.

2023 Repress

Dennis Brown has always been cited as Jamaica's favourite singer.
While Bob Marley set out to conquer the world, Dennis's popularity on the island grew with every year.
His most prolific period is said to be with producer Niney the Observer,who led the singer down a more Roots avenue.He put Dennis on some of his heaviest rhythms.
Throwing also into the pot the fact that these rhythms were also to be mixed by the Dubmaster himself King Tubby we are bound to get one of the best Dub albums around.
Here is where the Crown Prince of Reggae Meets Niney the Observer at King Tubbys.
It's from this period that we have focused on and it's these tracks that were taken to King Tubby's studio to produce this stunning album.
Hope you enjoy the set.......






G a7 | COME AGAIN DUB

J b2 | WOLF AND LEOPARDS DUB

Born of the overarching World of Darkness and the tabletop phenomenon Vampire: The Masquerade, Bloodhunt is Sharkmob’s thrilling spin on the multiplayer action genre that sees players take part in a ruthless war between vampire factions.

Bloodhunt boasts a sonically rich score sired by acclaimed Polish-Bulgarian composer Atanas Valkov, and featuring the Sofia Session Orchestra & Choir. The city of Prague provided much of the aesthetic inspiration for Bloodhunt’s soundscape: classical and romantic, yet with many a shadowy corner in which a vampire might secrete themselves. Valkov enjoyed creating contrast between modern

electronic musical elements and old world ones, as well as layering guitars and using irregular rhythmic structures. The overall soundtrack is both cinematic and brutal.

This deluxe double LP set features a deluxe gatefold sleeve (individually inkjet numbered) and printed inners dripping with stylish artwork by Sharkmob. 16 tracks have been mastered specially for vinyl, and pressed onto heavyweight, red and transparent LPs with a cloudy effect. Also included are composer liner notes.

His debut EP on Amen Brother and for this release, he went for a different approach to our usual kind of release. This EP has been created to sound like recording of a rave from the early 90’s. Back in the day, tape packs and bootleg cassettes were common place, where raves from all over the country could be enjoyed at home, especially by those of us who were too young to attend. They were like currency, traded with mates at school or sent to friends in other parts of the country by post.

Tony Justice kicks you off at the start of the rave, interlinking all the tracks by extracts of various raves so the release runs smoothly (for the digital we chopped the EP into 4). You are then asked to leave… but quietly. And don’t go looking for any free parties in Bournemouth!

Sit back, light a fat one and let this ep take you on a trip…

Emapea made his way into the world of beat-making after several releases and a first album in 2016. After releasing his LP Dreaming Zone, Polish producer Emapea is back on the French label Hip Dozer with a brand new album this fall, 'Still Got It'. With over 400k monthly listeners, Emapea didn’t lose his spark and brings a long player that reminds his connection to an old-school Hip-Hop style, yet always pushing towards freshness brought by the typical use of groovy piano leads and the addition of smooth vocals. Energetic, dynamic but at the same time chill vibe, this album in the colors of the Indian summer is a cocktail of strong and groovy beats balanced with light and jazzy melodies. ‘Still Got It’ achieves a certain airiness yet thoughtfulness that will carry your spirits up in another auditive dimension.

The iconic collective CSNY became both a symbol for Woodstock and the late 1960s counterculture sweeping across America. While
the internal dynamics of the band would soon determine its fate, CSNY would prevail by providing generations with a definitive
soundtrack of the period as well as an immense body of inspiring songs that would endure through the decades. The 1970-74
timeline is a golden one for the singer/songwriter and here are four of its finest authors, performing together, on stage as one.
Get Yer Vinyl Out takes you back to that golden era with their Greatest Hits performed across three rare broadcasts that help define
the sound of CSNY. Superb, professionally remastered original broadcasts pressed on Eco Mixed 180g Vinyl and presented in a
deluxe gatefold sleeve with background liners and timeline photos.

At the crossroads of past and present, Jean-Benoît Dunckel transports us into a timeless universe in the form of a tribute to the first electronic sound and music explorations.

Inasound Festival, Palais Brongniart, Paris, 2019: Jean-Benoît Dunckel, co-founder of the mythical band Air, creates a live performance. Inspired by a projection of archives evoking the beginnings of electro, JB Dunckel improvises solo on analog synthesizers taken out of his private collection for the occasion. He gives birth to a music which takes its source in the archives of the INA and develops in contemporary visions with a comforting dreamlike quality.

What humbly began as the amateur strums of a 10-year-old on the
ukulele, catapulted into an expansive 60-year long career that has taken Athens stalwart, Davis Causey, everywhere from playing with Marvin Gaye, Jerry Butler, and Jackie Wilson to Derek Trucks, Waylon Jennings, and Kris Kristofferson, just to name a few
Next in the long line of his musical contributions is his second album on Strolling Bones Records: New Things From Old Strings, a perfect collection of songs that have followed him through time. This album is the culmination of a lifetime dedicated to loving and making music or, in Davis' words, a great way to almost make a living! The album features old friends Randall Bramblett and Chuck Leavell plus a special appearance from Duane Allman's 1961 Gibson Les Paul
(SG).)This started out as a form of musical therapy to get through the pandemic, but soon became something more. Most songs began with just a chord progression and grew from there with the help of the other musicians. Some songs came fully formed while others had to be coaxed into existence. These songs reflect my many influences. From Chet Atkins and Johnny Smith to Duane Allman and Mark Knopfler to Martin Taylor and many others. My mom was a
great believer in me and my music being herself a writer. Once heard it said that if you steal from one source it's called plagiarism, but if you steal from a lot of sources it's called research. Consider me a researcher

One of the most incredible things about great music is that it has the ability to take the
listener to a place they’d rather be. A compelling song can carry someone back in time to a
treasured memory, or transport a person to a spectacular western prairie they’ve only visited
in their dreams. Ned LeDoux’s music has that kind of power. As a songwriter, he has a knack
for bringing people, places and emotions vibrantly to life with his insightful lyrics, and warm,
strong voice that makes him soundlike a beloved friend you always want to hang out with.
Those gifts are fully on display on LeDoux’s new album Buckskin.

Gemma Ray takes an unexpected detour from her
acclaimed psych-soul and torch song oeuvre with
a hard-edged experiment in cinematic electronica.
Epic despite its underlying simplicity and groove,
‘Gemma Ray & The Death Bell Gang’ blends the
funereal and the sinister with tenderness and
yearning, with a dash of automaton-pop and a
Dada-esque playfulness for good measure. Front
and centre are Gemma’s trademark stirring voice
and harmonies.
Released on eco-mix and splatter coloured vinyl
formats, with download card and exclusive pull-out
poster by British painter Deryk Thomas (Swans,
Angels of Light).
The record was recorded at Tempelhof Flughafen
in Berlin and features collaborations from sound
designer Ralf Goldkind (Fantastichen Vier, Mona
Mur), lap steel player Kristof Hahn (Swans), and
syncussion by Andy Zammit (Jon Spencer).
Accompanying videos for the singles ‘Come
Oblivion’, ‘Howling’ and ‘Procession’ by animator
Lucy Dyson (Paul McCartney, Beyonce, Courtney
Barnett).

Gemma Ray takes an unexpected detour from her
acclaimed psych-soul and torch song oeuvre with
a hard-edged experiment in cinematic electronica.
Epic despite its underlying simplicity and groove,
‘Gemma Ray & The Death Bell Gang’ blends the
funereal and the sinister with tenderness and
yearning, with a dash of automaton-pop and a
Dada-esque playfulness for good measure. Front
and centre are Gemma’s trademark stirring voice
and harmonies.
Released on eco-mix and splatter coloured vinyl
formats, with download card and exclusive pull-out
poster by British painter Deryk Thomas (Swans,
Angels of Light).
The record was recorded at Tempelhof Flughafen
in Berlin and features collaborations from sound
designer Ralf Goldkind (Fantastichen Vier, Mona
Mur), lap steel player Kristof Hahn (Swans), and
syncussion by Andy Zammit (Jon Spencer).
Accompanying videos for the singles ‘Come
Oblivion’, ‘Howling’ and ‘Procession’ by animator
Lucy Dyson (Paul McCartney, Beyonce, Courtney
Barnett).

"2018 Tbilisi Georgia. The energy captured materialized into the beats, melodies, and grooves across this album.
2022 the energy extended, echoes from the rawness, and its intention can be perceived all around the globe. With no program to stop.
Reasons enough to repress this record thanking hard to all those who have taken part in this incredible story which still has to be written.
As we are saying.
One of you."

Snarky Puppy founder, multi-instrumentalist and
Grammy winner Michael League and crossover
piano icon Bill Laurance take us to an imaginary
place full of beauty, peace and energy.
‘Where You Wish You Were’ is the name of their
first duo album, released on ACT. The album’s
protagonists surprise, almost as an antithesis to
the stadium act Snarky Puppy, with an intimate,
atmospheric, melody-driven dialogue.
Spanish resident and North Africa enthusiast
Michael League draws colourful musical
landscapes on oud, bass and guitar. And Bill
Laurance, otherwise also known to us especially
for dense walls of sound on keyboards and
synthesizers, transfers their sound palette to the
acoustic world of the piano. Musical escapism,
world jazz 2.0 and an invitation to a place where
we wish to be.

With the Dedicated Tour marking the end of a remarkable 10-year run for 2CELLOS, HAUSER is ushering a new era as a solo artist and visual concept creator on his new album THE PLAYER, accompanied by the Czech National Symphony Orchestra conducted by Steven Mercurio, released in 2022.

Whether it is captivating reimaginations of timeless world music classics such as “Bésame Mucho,” “Quizás, Quizás, Quizás” and “Historia de un Amor,” or his take on modern-day hits such as Ricky Martin’s Latin Pop hit “Livin’ la Vida Loca,” Madonna’s “La Isla Bonita,” Camila Cabello’s “Señorita,” and Shakira’s 2010 Official 2010 FIFA World Cup™ Song “Waka Waka,” HAUSER traverses from genre to genre with ease, inviting fans of all ages and backgrounds to join him for a global dance party extravaganza.

THE PLAYER is available as a limited edition of 1500 individually numbered copies on gold coloured vinyl.

REISSUE

Als eine der am längsten bestehenden Bands, die immer noch stolz die Flagge von New York Hardcore
schwenken, haben sich Sick Of It All als einer der Eckpfeiler von NYHC einen Namen gemacht und bewiesen,
dass Herz, harte Arbeit und Hingabe an Hardcore mehr als nur die Musik sind und ein Bild, es ist eine
Lebensweise. Das Quartett feiert 2006 sein 20-jähriges Jubiläum und zeitgleich mit diesem monumentalen
Ereignis erscheint die Veröffentlichung des 9. Albums der Band mit dem Titel „Death To Tyrants“.

FutureNever — Daniel Johns Ex-Silverchair frontman Daniel Johns reflects on his past and reaches for the future on his second solo album 'FutureNever'

** 1st Time on 7"! Totally underrated Prog-Krautrock-Funk **

Taken from a self-released 33rpm record, both sides are superfunky jazz flute workouts similar to Tramp's previous 7" by Big Band Frank Pleyer ("Sally" b/w "Bubble And Squeak", Tramp TR-291).

Green Marbled Vinyl

"CCR - Club Culture Rarities" the record label exclusively dedicated to re-prints of cult and rare 12” taken form Expanded Music’s labels.

The 10th release on "CCR - Club Culture Rarities" BAMBOO VALLEY originally released on DFC-Dance Floor Corporation 1993


Ask for it and stay tuned.

* 2022 Repress ** Profondo Nero compiled by Cinema Royale

Profondo Nero narrates a storyline that goes beyond the borders of Italy’s musical legacy. Cutting across the face of Italo disco’s leftfield musicians between the early and late ‘80s, Profondo Nero champions a multi-faceted sound that nods to the blueprint of Italo disco but tries to dig deeper. The music is unmistakably Italo disco but moves away from the familiar classic sound. Amsterdam based collector Cinema Royale stitches together eleven tracks from 1983 – 1989, celebrating a sound he fittingly describes as ‘leftfield Italo’.

The compilation connects the dots between soulful disco (Louise Freeman – Mirage), synth-pop (Mark – Dreamland), electro-rap (Loukas Thanos – Jazzburger), breaks (Santoro – Lover Message), 80s dub disco (Jet Set – Love Break), Balearic (Isamar & Compañia ‎- No Estas), boogie (Tom Hooker – Talk With Your Body) and proto-house (International Music System - An English ’93).

Profondo Nero’s title salutes the legendary oeuvre of Italian horror director Dario Argento. His Profondo Rosso (1975) is a classic example of exquisite cinematic storytelling, boasting courageous colors, expressionist camera angles and an unforgettable Goblin score forming the ingredients for an intriguing piece of art. Profondo Rosso’s music, created the spark for a new Dekmantel Records endeavor led by Amsterdam based experimental film score connoisseur, record collector and DJ Cinema Royale.

For those in the know of underground Amsterdam music culture, Arne Visser aka Cinema Royale is among the city’s longest standing record collectors. Born to an Italian mother and Dutch father, Arne was brought up on a diet of Italo disco in the 80s. Cinema Royale explains: ‘For Profondo Nero I took a plunge into the lesser known fringes of Italo disco. From there I tried to connect, among others, San Francisco boogie, Balearic, Japanese late era Italo-electro and synth-pop funk. I hope you can hear what I had in mind: an infectious showcase of my take on traditional Italo disco that will hopefully get a lot of listeners itching for a spin. It’s fair to say that lately this particular sound has seen a reappraisal and renewed interest.

As a party-starting collection for entry-level connoisseurs or suave but lazy types, I hope Profondo Nero can be an education. I’m not claiming I’m the first DJ or collector to do so, but I did try do present something special by digging deep.’ It wasn’t my goal to unearth the most obscure tracks, instead I wanted to compose a compilation that takes you on a journey.
‘In my opinion the best DJs create something extraordinary out of illogical selections by combining music against all odds and showing different kind of moods along the way. There’s a certain amount of arrogance involved: you take the music out of its original context. But by doing so in a very conscious way, you might be able to enhance the power of the individual records. Hopefully each song on Profondo Nero provides an intimate and memorable experience.’

The album’s seemingly brief tracklisting belies a work of great beauty and depth, and one which turned into a one-man crusade for singer/guitarist Lars Andersson, intertwining deeply personal stories with his love for the era of Romanticism. “Every time I go to a museum and I’m about to pass through the era of Romanticism I stop in awe,” says Lars of the enduring appeal of the 18th century artistic movement. “Whatever it is – stories, paintings, music – it triggers something deep within me, something profoundly human. It really hits a nerve, and it utterly immerses me to a point where I can’t move.” The album replicates this feeling; a gloriously over-the-top blend of Slowdive and Sigur Rós, mixed with the single-mindedness of Daniel Johnston and the noisiness of Nirvana, it’s as bold and beautiful and every bit as ornate as the art that inspired it. Unlike their acclaimed debut, 2019’s All That Ever Could Have Been, which gradually came into focus with a 15-minute opening track, Picturesque hits home from the very first note of the short and sweet opener, ‘Ballerina’. That’s not to say there aren’t epics here – ‘Metamorphosis’ is essentially a 12-minute suite of three movements; blistering closer ‘The Lot’ is 11 minutes of Swans-inspired heaviness – but everything is much more direct and focused. This isn’t an album to lose yourself in, it’s one to get swept away by. “‘More is more’ was definitely the credo when making this record,” agrees Lars. “A big inspiration were bands like Pond and the way they manage to fill their songs up with stuff to the absolute maximum. While I definitely tried to give the listener some room to breathe at certain points and while, in good old post-rock fashion, it still builds up and breaks down, it relies much more on simple melody and harmony as opposed to noisy experimentation to transport feeling.” Never more so than on the first single, ‘The Golden Age’, which is the album’s centrepiece; a soaring slice of über-shoegaze that is so stunning you can’t take your eyes or ears off it. Like all the songs on the album, it’s based around a fairy-tale from the Romantic era. In this case, it’s Heinrich von Ofterdingen by the German poet, author and philosopher Novalis (other influences are: The Steadfast Tin Soldier by Hans Christian Andersen; The Seven Ravens and Hans in Luck by the Brothers Grimm; Undine by Friedrich de la Motte Fouqué and The Golden Pot by E.T.A. Hoffmann), with Lars drawing parallels between the titular character’s mystical and romantic searchings and his own personal quest. This is apt as the album has been an overriding obsession for Lars for the past two-and-a-half years; as well as writing and recording the songs (bandmate Phillip Dornauer played drums), he also mixed and mastered them at his Alpine Audio studio and Picturesque is very much his Brian Wilson or Kevin Shields moment. MOLLY were in the middle of their European tour when Covid hit in early 2020, forcing Lars to retreat back to his home outside Innsbruck and giving him time and space to think about every detail of the record. “Well, I was on a quest I guess,” he admits. “Like everyone, I was stranded at home and at some point I just said to myself, ‘If not now, then when?’ It was an intense process. I’ve worked on music from other bands and artists before but producing and mixing your own music is an utterly different animal. It was probably the most intense thing I’ve ever done, but it was also incredibly rewarding and the feeling of it all coming together piece by piece is incomparable.” The artwork is just as effective. “I think of Radiohead’s OK Computer – what you hear on the record is what you see on the cover,” explains Lars. “We were inspired by what we call ‘wimmelbilder’ hidden pictures in German, a very specific style in art where there are a lot of little things happening. When you see it from further away, it looks organic like a lost painting from the area of Romanticism, but the closer you look the more digital it gets. It’s a nice analogy.” He’s right, it perfectly sums up the conflict between Romanticism and 21st century life. “Romanticism was basically an answer to the Industrial Revolution as well as the social and political norms of the Age Of Enlightenment,” concludes Lars. “Now, we all live in a much more industrialised, materialistic, individualistic and sterile society than any early Romanticist could have ever possibly imagined. Over 200 years later the Romanticists have lost the battle.” With the divine and downright pulchritudinous Picturesque, MOLLY begin the fightback.1.Ballerina 2.Metamorphosis 3.The Golden Age 4.Sunday Kid 5.So To Speak 6.The Lot

Faitiche presents Groupshow’s Greatest Hits: The ten tracks on this first vinyl album by Groupshow (Hanno Leichtmann, Andrew Pekler, Jan Jelinek), recorded between 2005 and 2018, document concert recordings and studio improvisations by the trio.

In improvisation there are no mistakes, only missed opportunities. Groupshow found their first opportunity in the routines of live performance and they used this opportunity to break with these routines. The trio consisting of Jan Jelinek, Hanno Leichtmann and Andrew Pekler came together in the context of Kosmischer Pitch, playing live versions of the music from Jelinek’s 2005 studio album of that name. During this project, the musical interaction between the three participants quickly emancipated itself from the original programme, departing from fixed roles and finding a distinct form in constant change.

Groupshow sessions – rehearsal, concert or recording – are always improvised. The interplay of the various sound sources, converging from the directions of “electronics”, “percussion” and “guitar”, does not follow the Krautrock wave logic of crescendo and morendo. Jelinek, Leichtmann and Pekler have established a method of transparent density in which links and breaks are not concealed but remain audible. The music works through attraction and repulsion, with a loosely organized structure that always leaves enough room for the next intervention.

The principle here, repeated even in the smallest units, is that of duration. Groupshow think of their music in terms of an installation: no starting point, no dramaturgy, and ideally no end. Concerts take place not raised up on a podium, but in the middle of the room on a level with the audience, who only enter the space with the musicians and instruments once their interaction is already underway. In 2008, Groupshow used this approach to create a live soundtrack for Andy Warhol’s film Empire, over the full length of eight hours and five minutes.

Recordings in general and the “Greatest Hits” format in particular are another key aspect of this ongoing work on a collectively modulated continuum. The ten tracks on this first vinyl album by Groupshow, recorded between 2005 and 2018, document the ephemeral capturing of opportunities that were not missed. Extracts and essences of an endless movement of searching. The sprawling form of the whole, suspended in succinct, separate units.
To paraphrase Lao Tzu and Roland Barthes, one might say: Once their work is done, they are no longer attached to it. And because they’re not attached to it, it will remain.

Arno Raffeiner, 2022

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.

Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’

The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such?

Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.

A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.

It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Time for some rare late 70s soul royalty out of Memphis, Tennessee, a top rung rarity on the collector scene, Coco & Ben - Good Feelin'. Ben Robinson was recently tracked down by friends of the label Daniel Mathis and Robert Garcia, lucky for the world he was still sitting on the tapes for this slightly longer take (as well as some unreleased tracks) allowing us to cut this disco floater as a nice loud 12" for the first time, now sounding better than it ever has, don't sleep on the flip either. Utterly essential record.

We're thrilled to welcome Jabes for his debut on Timedance, following up on releases for Klunk and collaborations with Happa.

The London-based producer delivers a couple of tried and tested peak time mind-benders. Both tracks are designed to encapsulate the feeling that the entire room is about to take off, speakers, dancers and yourself included.

Super charged with bass weight, this pair of tunes carries irresistible propulsive powers fueled with scintillating hi-teq sonics and sleak percussion work, providing the prescription to help dancefloors ascend into pure madness.

bbbbbb welcomes powerful split EP ‘Clubs Are Closed Vol.1’ as Bjarki & Kuldaboli and Krokodil drop fresh heat on the imprint.

A hub for boundary-pushing and innovative productions across techno, electro, and beyond, Bjarki’s bbbbbb imprint continues to serve as a must-visit platform showcasing Iceland’s finest talents across its family of core artists. Latest offering ‘Clubs Are Closed Vol. 1’ sees founder Bjarki join forces with bbbbbb mainstay Krokodil to take command of the A-side as they deliver a pair of powerful efforts, while the B-side sees Kuldaboli and Erling Bang combine under their Krokodil alias to close the show.

The release welcomes the long-awaited release of opening cut ‘Ú jeje’, a favourite from Bjarki’s 2019 sets, alongside the rousing, high-octane ride of ‘Karmageddon’ (Deepfake Mix). On the flip, the impactful sonics of Krokodil’s B1 ‘Kops Are Comin’ take hold, a production emerging deep from the archives and already supported by the likes of VTSS and SPFDJ, before closing the package via the warping electro spheres of ‘SurvivinTheDanger’.

Johnny Cash – The Man in Black und mit Sicherheit die größte
Country-Legende aller Zeiten. Er hat zahllose Hits geschrieben
– und diese “Greatest Hits”-Vinyl Compilation präsentiert
eine ganze Menge von diesen: I Walk The Line, Home Of The
Blues, Don’t Take Your Guns To Town, Walkin’ the blues,
Frankie & Johnny, und viele mehr.

Mysticisms keeps the Dubplate series moving, welcoming one of the seminal Dub producers of all time in Scientist. His unique studio techniques and understanding of rhythm are exalted and present on Step It Up, an enlightening example of his genius and matched with a widescreen remix by label associate DJN4, aka DJ Normal 4, teaming up with fellow Dusseldorf producer AKI AKI, to offer a dreamland breaks-steppers anthem.
The fact that Hopeton Overton Brown aka Scientist is one of the true pioneers of Dub music is undisputed. His productions, first as an apprentice at Studio One, then breaking through whilst teamed at King Tubby's studio, led to Channel One and a series of seminal Dub masterpieces throughout the 1980s, mixing engineer Henry 'Junjo' Lawes' productions with the Roots Radics, alongside vocalists Barrington Levy, Jonny Osbourne and Jah Thomas.

Step It Up precedes, taken from the period of seminal Tubby's work with Bunny Lee and in this instance, with Barry Brown classic vocals and Lee's house band, The Aggravators, backing. As often with Reggae's history, much is disputed, however, this unmistakable Scientist production showcases Brown's high pass filters in effect, the trademark riding 4/4, utilising the 4 track mixing desk to create a joyous bounce.

Working on the license from the outset, Tim Schumacher aka DJN4, waited in the wings to dive in the desk for a modern-day remix. Partnering with up-and-coming producer Aki Vierboom (Phaserboys / Candomble), the Digi-Dance MixX is bass-quaking histrionics, a steppers meets rave culture overdose that will be heard from festivals to dancehalls, a righteous dub-breaks riddim y'all.

Step the Mystery

Ecuadorian musician, sound engineer and producer Andre Salmon collaborates with Teddy Wong, Jorge Andrade, Le Roi Carmona and Michael Joseph for their first collective release on Hot Creations. The three-track EP is a rumbling journey through club-ready tech house, shaped by glistening beats, thick basslines and groovy melodies.

The title track simmers with a chunky bassline and a giggly vocal sample, in tandem with Spanish lyrics and a catchy melody. Co-produced with Teddy Wong, The Wonx follows suit with a more laidback mood and a twinkling synthline. Snappy percussion and glitchy vocals add a clubby feel. On the flip, Andre joins forces with Le Roi Carmona and Michael Joseph on La Piel De Salmon. A weird and wonky melody ensues, aligned with Hot Creations’ signature take on house music. Ethereal Spanish vocals build tension in the breakdown before erupting into a colossal, bass-heavy groove.

After releasing two critically acclaimed albums in the span of 10 months (TA13OO and ZUU, respectively), Denzel Curry starts off 2020 with a menacing and concise full length produced entirely by Kenny Beats. Unlocked is the product of a manic 3 day studio session following Denzel recording for an episode of Kenny's YouTube show, The Cave. The project finds the two mining sounds outside of what prompted their respective rises in recent years. While Denzel pulls influence from various members of The Wu-Tang Clan, Kenny taps into a sound inspired by the holy trinity of Madlib, Dilla & MF Doom. Despite these classic influences, Unlocked sounds like something completely new and sees Denzel setting the tone for a new decade once again just as he and Raider Klan at the outset of the 2010's.

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

Red Vinyl

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output.

Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide.

Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy.

Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.

After spending his debut album exploring techno and mechanical sounds in the depths of the Pas-de-Calais mines, Toh Imago looks up to the sky, with an open breeze on his face, as tree branches and canopy filter out the sun’s rays on Refuge. All the machines used during the album recording are tuned at 432hz, carrying the mystical benefits of Earth’s resonance. Spending just seconds with the opening track, the listener is drawn into the safety that Refuge was intended to provide, and each subsequent piece pulls you deeper and deeper into the album’s forest.

Textextext - (add your write up)

‘Refuge’ was recorded on the edge of the Mormal forest, in the North of France. With nature as a setting and studio accomplice, the album features synthesizers, field-recordings, as well as the acoustic qualities of reverbs from the nearby forest. As the artist’s inner world and nature converge in moments of self-reflection, so the album’s 11 recordings harmoniously unfold in a cavalcade of machines and organic sonorities.

While the first LP 'Nord Noir’ explored his family’s mining past, ‘Refuge' is about being present and the desire to re-contextualize the relationship between nature and humans. It is a record of uplifting tones that is filled with optimism, imbued with the lightness of those who finally reconnect with nature, their roots, and the feeling of groundedness.

Like the steps taken on a walk in the woods, the 11 tracks sonically tell the story of an inner journey divided in three chapters. "Asile sauvage", "Sylve barbare" and “Avril Mormal" take the listener into a fast-paced progression of rhythms. When the heart of the forest is reached, the journey becomes intimate, revealing a sacred space where breathing becomes the leading tempo ("Locus Neminis") and the traveller becomes a spirit lost in space ("Cosmos Intra”). The journey's climax is reached with "Monde intérieur". The album closes with "Chiff Chaff" which accompanies the listener back to a reality, hopefully a more reassuring one.

Across the album, Toh Imago finds inventive ways of opening a dialogue between nature and machine, both literally and metaphorically, creating a soundscape that both feels like and was created by the natural world that surrounds him.

The album offers a shelter from a predetermined world. It’s a story told through ambience, racy and subtle electronics, and the memories of lichens clinging to shoes.

Pressing Info: 180g 'muddy water' (transparent green) vinyl, mono audio, printed inner sleeve, hand numbered, limited to 500. As part of their ongoing King Gizzard bootleg series, Fuzz Club are releasing a mono version of 'Polygondwanaland' - the Aussie psych legend's twelfth studio album and the bootleg that started it all. Polygondwanaland first appeared as a partial leak on the band's demos for the album. The leak was uploaded to SoundCloud but was soon taken down. As a result, news of the album was scarce and mostly involved rumours, one of which stated that it would be the last of the five albums released in 2017. The track "Crumbling Castle," which appeared on the demo, was performed live by the band as early as September 2016, albeit in a much shorter form. However, it lay dormant for many months during an especially prolific period for the band, leading to speculation that the track might have been scrapped. Both the track and the music video were finally released on 18 October 2017, exactly one year after the first performance of the song was uploaded to YouTube. The legitimacy of the demos was all but confirmed at this point, as not only did the track feature the album's name in the lyrics, but it also contained lengthy musical passages equal in duration to the demo. Polygondwanaland was officially announced on the band's Facebook page on 14 November 2017. The release date and cover art were publicized by the band, who stated, "This album is FREE. Free as in, free," encouraging fans to make their own copies and bootlegs of the album.

Formed in 2014 in Chicago by partners Joshua Condon
and Eliza Weber, Glyders have kept busy, lighting up
shows around town and country ever since then with their
mystery sound, on the road when and where they could
from here to Europe, taking time also to self-release a
couple of EPs (‘DIM’ and ‘Lend a Hand’).
 Fuelled by Josh’s spectral vocals and the liquidity created
by his guitar and Eliza’s bass, Glyders’ mazy spacecraft
takes to the air from the empty parking lot out back of the
roadhouse and finds in its arc an anodyne of the trippy and
the wiggy / ghostly places lost and found. Glyders have it
both ways, rocking the white line with fervour but also
stopping to soak up the fragrance of the purple sage and
the queen of the night by the side of the road.
 They’ve cut their records at home, with Josh delving deep
in the pleasures of analogue recording, finding the
embodiment of their subterranean fascinations with twists
and turns of the dial in a space they’ve dubbed the Juicy
Lagoon. Steeped in the pop and psychedelic enigmas of
rock and roll yore, the buzzing of tubes and transients and
uncontainable rumble, Glyders make it shake and live in
front of the tape machine and real audiences alike with a
flexible, expansive palette of sounds and a tight bunch of
songs.
 For their first vinyl full-length, the watchword, as ever, is
‘maximal minimal’. These kids are up around the bend and
in it for the long haul. After a few line-up shifts over the
years, they’re settled down with drummer Joe Seger and
are fixing their sights on the far horizons. If you see
Glyders choogling down the track, pull up and get set for
‘Maria’s Hunt’.

Formed in 2014 in Chicago by partners Joshua Condon
and Eliza Weber, Glyders have kept busy, lighting up
shows around town and country ever since then with their
mystery sound, on the road when and where they could
from here to Europe, taking time also to self-release a
couple of EPs (‘DIM’ and ‘Lend a Hand’).
 Fuelled by Josh’s spectral vocals and the liquidity created
by his guitar and Eliza’s bass, Glyders’ mazy spacecraft
takes to the air from the empty parking lot out back of the
roadhouse and finds in its arc an anodyne of the trippy and
the wiggy / ghostly places lost and found. Glyders have it
both ways, rocking the white line with fervour but also
stopping to soak up the fragrance of the purple sage and
the queen of the night by the side of the road.
 They’ve cut their records at home, with Josh delving deep
in the pleasures of analogue recording, finding the
embodiment of their subterranean fascinations with twists
and turns of the dial in a space they’ve dubbed the Juicy
Lagoon. Steeped in the pop and psychedelic enigmas of
rock and roll yore, the buzzing of tubes and transients and
uncontainable rumble, Glyders make it shake and live in
front of the tape machine and real audiences alike with a
flexible, expansive palette of sounds and a tight bunch of
songs.
 For their first vinyl full-length, the watchword, as ever, is
‘maximal minimal’. These kids are up around the bend and
in it for the long haul. After a few line-up shifts over the
years, they’re settled down with drummer Joe Seger and
are fixing their sights on the far horizons. If you see
Glyders choogling down the track, pull up and get set for
‘Maria’s Hunt’.

Factory Benelux presents a new 3 disc black vinyl edition of Harmony, the debut album by influential Scottish group The Wake. Originally released by Factory Records in December 1982, this new expanded edition marks the 40th anniversary of this landmark post-punk album.

The Wake formed in Glasgow in 1981 after singer/guitarist Caesar left Altered Images, and joined Factory the following year. Harmony was recorded at Strawberry Studios in Stockport with producer Chris Nagle (formerly Martin Hannett’s preferred engineer), by which time the group comprised Caesar (vocals, guitar), Carolyn Allen (keyboards), Steven Allen (drums) and Bobby Gillespie (bass). On release as Fact 60 the original 7 track mini album earned a 5 star review in Sounds magazine, hailed as the missing indiepop link between Factory and Postcard Records.

Bonus tracks on Disc 2 include The Wake’s dub-informed second single, Something Outside b/w Host, and also their John Peel session from July 1983 – the last recordings to feature Gillespie before his departure for The Jesus and Mary Chain and Primal Scream.
Disc 3 offers a desk recorded live set from Ayr Pavilion on 15 April 1983 during a tour with New Order. The concert includes several songs never recorded in the studio, including Recovery and Country of the Blind.

The enhanced trifold artwork for this new edition includes images of the band by noted photographer Paul Slattery, taken at the Mitchell Library in Glasgow, as well as new liner notes by Caesar. A 2xCD edition is also available (FBN 29 CD).

After releasing several further albums on Factory and Sarah Records during the 1980s and 1990s, The Wake returned to recording with A Light Far Out in 2012. A new studio album is expected in 2023.

Following the April 2022 reissue of the album Shrimp Boats, We Are Busy
Bodies presents companion titles Plum and Cherry and Deeper in Black
to round out a Lionel Pillay and Basil Mannenberg Coetzee trilogy as part
of the label's As-Shams South African jazz archive series
The connection between these three albums is tight as the 1987 release Shrimp
Boats compiled unreleased recordings from both the 1979 session for Plum and
Cherry and the 1980 session for Deeper in Black. These two rare records have
been carefully remastered from their original tapes and are back in print for the
very first time in over 40 years.Shrimp Boats and Plum and Cherry capture the
extraordinary musical chemistry that existed between pianist Lionel Pillay and
tenor saxophonist Basil Coetzee in the late 1970s. The respective album
showpieces Shrimp Boats and Cherry each occupy an entire side of vinyl with
both exquisite musical journeys clocking in at an epic 25 minutes a piece. While
Shrimp Boats was an instrumental reimagining of the popular 1951 song by
American singer Jo Stafford, Cherry drew inspiration from Abdullah Ibrahim at the
behest of producer Rashid Vally, who wanted to emulate the success of the
famous track that had helped launch his independent As-Shams/The Sun record
label in 1974.
Ibrahim's hit Mannenberg had also featured Basil Coetzee and it was this zeitgeist
South African jazz recording that had given rise to his stage name. Capturing the
grace and vitality of working- class township life on the city fringe, Cherry
channels the type of laid-back Cape groove that Abdullah Ibrahim, recording as
Dollar Brand, introduced to South African jazz in the 1970s. On the flip side, Plum
appears to take its own simple chord change in the same direction before
breaking into a chugging 20-minute romp that verges on proto-electronica and on
which Pillay hangs all manner of savage keyboard riffing and experimentation.
The two distinct flavours of Plum and Cherry make for a well-rounded platter with
an iconic cover featuring the work of abstract expressionist painter and AsShams/The Sun collaborator Hargreaves Ntukwana.

CUSTARD VINYL PRESSING.

The Beths' Warm Blood is a strong contender for the catchiest record you've never heard. Formed when four jazz students at the University of Auckland bonded over their shared love of the pop-punk sounds of their youth, The Beths bring new energy to the genre. This 5-song debut EP, a deliriously pleasurable statement of purpose, comes crammed with enough blissful hooks to carry through most bands' careers.

Listeners for whom the tag 'New Zealand indie rock' brings to mind the Flying Nun sound of bands like The Clean and The Chills may be surprised to find Warm Blood's five unstoppable tunes landing closer to artists like Slant 6 and The Breeders. The nimble guitar work here moves from heavy riffing reminiscent of Sleater-Kinney to hazily bending lines that would make Stephen Malkmus and Mary Timony beam, while the joyous vocal harmonies from all four members bubble and swell to ecstatic crescendos that channel The Zombies' Odessey and Oracle.

With impeccable production from guitarist Jonathan Pearce and stellar musicianship across the board, Warm Blood is a non-stop delight. Tracks like leadoff track and first single 'Whatever,' the ridiculously addictive standout 'Idea/Intent,' and 'Rush Hour 3,' a playful ode to romance in this era of download-and-chill franchise films, take delight in the challenge of breathing new energy into the limitations of the 3-minute pop song. 

Celebrating a momentous five decades in the industry, legendary
musician and songwriter Paul Carrack, who's 'Golden Voice' features on
numerous classic world wide hits such as 'How Long' (ACE') ,
'Tempted' (Squeeze), 'The Living Years', 'Over My Shoulder' ( Mike and the
Mechanics) teams up with the GRAMMY Award-winning SWR Big Band &
Strings on epic new album " Don't Wait Too Long"
The covers album celebrates the pioneering golden era in music from the 50s and
beyond spanning blues, gospel, country and jazz. The first single "Cryin' Won't
Help You" out in Jan 2023 is Paul's tribute to the legendary BB King.Paul has a
deep love of R&B songs from the fifties and beyond. For him, 50s music was filled
with intense emotion, it was wildly kinetic and had a profound impact on his
career. In Paul's mind, it's where all modern pop music began, the sounds were
spectacular and revolutionary. Days when the change from jazz to pop was
stretched via pioneers and great singers like Bobby Bland, Ray Charles, Aretha
Franklin, and Lloyd Price..These artists always resonated as fantastic performers
with stylistic records that had such joy and intensity.
The 50s were not only a time for musical revolution but a social and generational
upheaval of vast and unpredictable scope. The power of this music is as vital
today as it ever was with the power to change lives forever.
After working with the SWR band on a number of projects, Paul and his producers
had the idea to find and record a selection of these time-warped classics, some
well- known, others not so much, and the title track , a modern song that harks
back to those times called 'Don't Wait Too Long'. The result is an impassioned,
compelling album. Honest, epic, touching, the album showcases a great vocalist
who is at home with his art and talent.
NATIONAL TV & RADIO.BBC Breakfast - Will take first week Jan / BBC Radio 2 -
Cerys Matthews - First Week Jan / Talk Radio - 2nd week Jan / Sky News - Beth
Rigby Interview - Second Week Jan / Greatest Hits - First Week Jan / GB News -
Live Interview via Zoom First Week Jan / Talk TV - Live Interview via Zoom first
week Jan / Ch 5 News - TBC week 2 Jan / ITV News - 2nd week Jan

Espen Friberg’s solo album debut. Sun Soon is Espen Friberg´s solo album debut, consisting of eleven compositions made up of synthesizer and field recordings. The album is formed as a collage, with compositions patched on a Serge modular synth and field recordings. The patches portray the mood and wandering in mountains and forests – while at the same time meditating on the area of the Norwegian valley Hallingdal´s local history. The collage technique is something Friberg uses in both his musical and visual art. The album is meditative and exploratory, and at the same time playful and immediate. Trucks, trash cans, flowing streams, lemon soda, horses and wandering mountains, find its place between slow melodies, scratching, sinus tones and bass lines. Dissonances and harmonies come together in gliding transitions and abrupt stops, while an electronic willow flute sings and the sun is rising. The recording is done at Leveld Kunstnartun in Ål in Hallingdal, later mixed and produced in collaboration with Jenny Berger Myhre. The project captures the ambiance in the valley around Leveld, through Espen´s experiences in nature, but also from the paintings of Marianne Røthe Arnesen and Gøsta Munsterhjelm. Espen Friberg is known as an artist, designer, illustrator, cartoon creator and musician, and has received numerous awards and stipends for his work. In the beginning of 2000 he was a part of establishing the design studio Yokoland, but later started his own studio. In addition to his visual practice he has built a sound studio consisting of complex synthesizer systems and a variety of obscure electronical instruments and effect processors. He has been a central person in experimental and electronic music in Norway. He started and runs the record company Take It Easy Policy in collaboration with Emil Høgset, and has been a curator for the concert series Rett Ned. Since 2005 he has participated in a long line of sample albums under different artist names, before releasing his first EP under his own name in 2015. After this he has released six different albums with Øivind Olsen, André Borgen and Marianne Røthe Arnesen. Friberg has been active on the concert stage, both as a solo artist and in different collaborations. 1.Lazy cobweb 2.Wandering mountain 3.Gøsta Munsterhjelm 4.Foggy glow 5.Pasture patch 6.Motor sunup 7.Thirteen paintings 8.Marianne Røthe Arnesen 9.Sinuous river (part one) 10.Sinuous river (part two) 11.Orange moss bridge

Ready for a bit of new rocking punk with just a touch of garage psych thrown in for good measure? Well, if you are, then The Mundaynes debut album 'Love It' should do the trick. Recorded during Summer 2021 on the front line of Bexhill-On-Sea, 'Love It' is stuffed to bursting with 15 great new songs. During lockdown, Bevis Frond frontman Nick Saloman, having little else to do, found himself writing loads of songs. Some were used on the Fronds’ ‘Little Eden’ album, many were discarded, and some were kept with a view of doing something with them in the future. Nick felt that a batch of these songs were pretty good, but not really suitable for The Bevis Frond, maybe being a bit too punky. However, wanting to record these songs, he called up his mate Tony Page, the former lead singer with vintage punk bands The Ploy and Apocalypse, to see if he fancied doing some vocals. Tony was only to pleased to take part. Then Nick asked bandmate Paul Simmons if he’d do all the guitar parts. Paul agreed and the three of them went into Bexhills’ Graffite Studios and laid down the tracks. The results were so good that the trio decided to put them out as an album. The impromptu band needed a name, so they became The Mundaynes, thought up by Tony because it was a Monday! Bearing in mind that all three guys played in punk bands, Tony as mentioned above, Nick with The Von Trap Family & Room 13, Paul with The Cravats and Jello Biafra, and, of course his own band The Alchemysts, the pedigree here is pretty solid. So what do we have here then? I guess it’s a loud, angry, melodic, wry punk rock album full of great tunes. Hope you ‘love it’, and if you don’t, well, that’s life.

THE ANCHORESS TO RELEASE VINYL ACOUSTIC EP OF TRACKS FROM
THE CRITICALLY ACCLAIMED 'THE ART OF LOSING'
Following the raft of "Best of 2021" plaudits for 'The Art Of Losing', Welsh
songwriter & producer The Anchoress announces the vinyl EP release of acoustic
versions of tracks from her critically- acclaimed record.'The Art Of Losing -
Acoustic EP' is out on January 20th 2023 via Kscope & features a stripped back
piano version of 'Show Your Face', 'Let It Hurt (String Quartet Version)' & acoustic
versions of 'All Farewells Should Be Sudden' & 'The Art Of Losing' plus a solo
piano take on 'The Exchange' & a special French language version of 'Let It Hurt'.
Catherine Anne Davies aka The Anchoress says: "As an album that was designed
to be listened to on headphones as an intimate journey into the physical &
psychological landscape of grief, it's been fascinating to tackle these acoustic
reworkings & explore new textures & arrangements that strip back the songs to
their essential skeletons. I hope fans will find a new connection to the core of the
songs within these acoustic versions & be excited to own them on vinyl for the
first time."
The vinyl acoustic EP release coincides with news of a series of UK tour dates:

In a Hip Hop match-up as heavy as Freddy vs Jason was to horror cinema, Los Angeles emcee's Mykill Miers and Pawz One have announced a collaborative album titled "Double Homicide". The project is packed with multi-syllabic lyrical barrages and DJ cuts as gritty as the boom-bap backdrops for a journey through the dark underbelly of the city of angels.

Mykill Miers, the self-proclaimed "Hitchcock Of Hip Hop" has been a threat on the mic since the late 90's, coming up in the same circle as notables including Planet Asia, Dilated Peoples and Phil The Agony. Pawz One has been releasing music for the past decade has been repping hard for the real ish. Speaking on their initial link-up Pawz recalls "I had obviously known of Myk for a while from killing it on the "Wake Up Show" to all the work he dropped. I was circulating around shows in LA a few years back and we ended up on the same bill a few times. We exchanged contact and did a few songs and I felt like it was a combo people would like to hear more from."

Production on the album includes work from Default Beats, Big Bob, Phaisrok, DJ Ray Swift, Science and Mykill Miers himself. Turntablists including DJ Rhettmatic, DJ Merk1200, DJ Breeze, DJ Romes and DJ Fastcut lend their skills and emcees including Ruste Juxx, Mic Handz, Edo.G, El Da Sensei, King Magnetic and Buddah.

From over the hills and far away, the cobblers and their boots are here to stay. The sartorial scallywags return with another collection of kaleidoscopic, Italo-tinged party pleasers.

First off the block, London royalty Super Drama team up with homeboy Kayroy for ‘Something New’, a cut of propulsive glitterball synth-funk, with just the right amount of cowbell. Next up, Italy’s Disco Mortale and Futuristant take us for a tour of the dark side, with cyborg vocoders
and cyberpunk arpeggios painting a vivid dreamscape of neon and steel. ‘Until Forever’ flirts the line between sinful and sincere, abandoning you to the rise of the machines, and a dance-off to the death!

Flip that wax and step on the gas because Gabto reunites with collaborator Kauan Marco for the colossally cool ‘Ki Ko Ho’. These brilliant Brazilians have delivered a bonafide gem, complete with drums that hit you in all the right places, and a killer synthesiser solo – brilliant stuff.

For the cherry on top, Marching Machines bring their intoxicating and hypnotic flavour of Belgian chug and psychedelic dark disco to the table with the festival-ready epic ‘Seraphic’ – molto bene! An electrifyingly eclectic and adventurous collection of toe-tappers and hip snappers, made with love and coming soon to a discoteca near you.

Following on from the first edition released earlier this year, Les Disques Bongo Joe are pleased to announce "Ayiti Kongo Dub EP#2" by Chouk Bwa & The Ângströmers. Following on from 2020s acclaimed album Vodou Ale, Chouk Bwa turn up the heat for this exhilarating trip into their bush of ghosts by introducing a new stripped down line-up to fire up the dance floor, based exclusively on the drums and rhythms of the Haitian kongo rite and deep electronic dub expansions by their trusted Belgian counterparts The Ângströmers. As Afro-Caribbean polyrhythms meet bass-weight dub electronics, the two part EP has documented the group experimenting with a stripped back form which focuses on the dimension of trance. Opening with a cermonial chant and designed to enduce dancefloor delirium, the first track taken from the EP is the raw, high-octane, primordial techno of "Zemedo".

Following the success of his 2022 mod-club, soul-jazz adventure with Mick Talbot, on 27 January Acid Jazz Records will release Chris Bangs' compendium of dance-floor fillers and Latin dynamite. Chris, who coined the term 'acid jazz', has created a new solo album of 10 tracks that takes his unique spin on jazz DJ-ing and turned it to producing an album that is totally reminiscent of the classic '80s era on the UK dance scene.

Recent single 'Firebird' (Jazz FM's Breakfast show 'track of the week') encompasses a lifetime of Chris's musical influences to present a jazz-tastic smorgasbord of bossa, fusion, bop jazz funk, salsa and a myriad selection of other jazz stylings all delivered with his trademark ear for the grooves and melodies to go with it. Paying tribute to his roots, 'East Coast' is the distinctive sound of jazz-funk fusion which spread through UK clubs in the early '80s, whereas 'Dinamita's heavy duty percussion-led Montuno Salsa groove tips its hat to the sound of '70s NYC via Puerto Rico.



Elsewhere the album features a tough Batucada rework of Dom Um Romao's 'Kitchen (Cosina)', the bossa of Cal Tjader's 'Samba Do Sueno', Brazilian disco funk-jazz 'Sambara' via the epic samba fusion 'Lifetimes'. Firebird features an array of in-demand and exceptional musicians, including jazz guitarist Nigel Price (Van Morrison, David Axelrod, JTQ), supreme jazz piano stylist Janette Mason (Seal, KD Lang, Robert Wyatt), trumpeter Dave Priseman (Jeff Beck, Imelda May), bassist Ernie Mckone (Boogie Back), saxophonist Simon Bates (Elvis Costello, Chaka Khan, Carleen Anderson), and fresh from his remix work with Paul Weller, vibesman Roger Beaujolais. This brilliant team of collaborators have helped a remarkable musical maverick create a truly unique and incredibly exciting album. Independently self-produced and composed, Firebird is a set of tunes better than any Chris Bangs had ever done.

RAMPAGE’s Veil of Mourn is superlative in every sense. There’s a distinct ruggedness to the band’s ceaselessly shifting style of thrash. Mind you, NOT necessarily “rawness” – although the album’s production certainly tends toward the rough – but RAMPAGE’s execution eschews the super-clean sharpness that thrash metal was largely heading toward in the post-Master of Puppets era. With form meeting content, the power-trio’s songwriting similarly takes all sorts of labyrinthine paths short of being qualified as “tech,” racing around and restarting with sometimes-maddening fury. Hooks thankfully abounded, and RAMPAGE’s attack undeniably possessed a death metalled underbelly not unlike Dark Angel or aforementioned Oz cult icons Hobbs Angel of Death. With that songwriting often reaching a fever pitch of diabolism and all three members barely keeping that fury in check, Veil of Mourn becomes a palpitating experience, a veritable ‘80s horror movie turned into a thrash record. The creepy cover art only heightened this sensation.

Following what many would consider a banner year of releases for both artists, Curren$y & The Alchemist reunite for their third collaborative album, Continuance. With a chemistry that is unmatched in this day and age, the album sees Spitta exude effortless confidence over some of Alc's most finely crafted beats, resulting in what many would already consider a timeless piece of work. The 13-track album features a tight, yet impressive roster of guests including Boldy James, Babyface Ray, Styles P, Larry June, Havoc, and old partner in crime, Wiz Khalifa. While their run seems never ending at this point, it is definitely something to be celebrated and not taken for granted.

Side By Side - Volume 2 is the latest in a series of exciting releases from
the much-respected Leeds label Come Play With Me and is the second
edition of Side to Side', a callout to support women, marginalised genders
and LGBTQ+ artists
. The album features a collection of 10 new and eclectic tracks from an
exceptionally talented group of artists including Pleasure Centre, Kindelan and
Naali Collective. With the lead track coming from South Korea native Heju and
further two singles from dreampop soloist Boshe and neo-soul Sunday.
Tracks: Edited People - Understand / Elle Bennett - Good Morning Midnight / Heju
- Sometimes i miss that hotel room / Boshe - Take It / Sunday - With Ease /
Eleanor Cully Boehringer - XIII Bells / NAALI Collective - Satori / Bizarrefae - You /
Kindelan - Know You / Pleasure Centre - Above The Neck (Live at The Nave)

In anice gatefold sleeve this vinyl will make you discover the most emblematic artists of Cumbia and other more confidential ones selected and explained by the journalist and expert OSMAN JR. Original versions entirely remastered.

Das Album ”Disclaimer” von Seether wird am 20. Januar 2023 mit einer erweiterten Neuauflage auf
Vinyl, CD und digital gefeiert. Diese enthält das ursprüngliche 12-Track-Album mit Hits wie ”Gasoline”,
”Fine Again” und ”Driven Under” sowie eine bisher unveröffentlichte Live-Show, die 2003 im Hampton
Beach Casino in New Hampshire aufgenommen wurde. Abgerundet wird das Bonusmaterial auf Disclaimer
(Deluxe Edition) durch eine seltene akustische Live-Coverversion von Nirvanas ”Something in the Way”
aus dem Jahr 2002, die ursprünglich als B-Seite veröffentlicht wurde. Einmal mehr begeistert die Band
Seether ihre Fans mit ihrer Mischung aus Alt-Metal, Grunge und Lyrik mit Herz auf dem rechten Fleck.
Außerdem verglich der Rolling Stone Seether mit Grunge-Helden wie Pearl Jam und Nirvana und lobte die
”mitreißende Katharsis” der Gruppe.
Das Album ist erhältlich als 2CD und als Ltd. 3LP.

In the finest tradition of BBE Music’s J Jazz Masterclass Series, we have a real obscurity of quality to savour. Taken from the rare 1978 private press album ‘Introducing’ by the Hideyasu Terakawa Quartet featuring Hiroshi Fujii, this private press gig recording was originally released in less than 100 copies. This BBE Music edition is the first time this very rare album has ever been reissued.

Led by saxophonist Hideyasu Terakawa alongside bassist Tetsuo Miura and drummer Akihiro "Thunder" Nakaya, the album was recorded live in concert as Terakawa stopped by at the jazz spot DIG in Masuda City, Japan, on the first of a seven-day regional tour in October 1978. Joining the trio was the featured guest, vibist Hiroshi Fujii.
According to Fujii, “a special label, Red Horison, released only this one album and it was sold at a few local record stores and available for sale when we played live. After this live recording, I did not perform with Terakawa again.” The current whereabouts of saxophonist Hideyasu Terakawa remain a mystery but we are delighted to be able to present this wonderful album to a new audience.
Unlike previous J Jazz Masterclass releases, the album contains no original compositions but rather fascinating interpretations of material by leading American jazz composers such as Wayne Shorter (Black Nile, as featured on J Jazz vol 3), Frank Foster (Simone) and Milt Jackson and Jimmy Heath (Rerev).

Mal-One’s latest single is again taken from a title of one of his Artworks Kiss Me Punk (till my mouth gets Numb). The cover of the single is the artwork itself, giving the listener something to contemplate as ‘The needle hits the Plastic, hear those speakers hum’ as the lyrics point out.

This single does not carry the usual ‘Version’ side, but is what we call a ‘Double “AA” Feature’, as the flip side track is the full unedited version of the title track to Mal-One’s forthcoming debut album “It’s All Punk Rock’’ due out on 15 October 2021. Hope you enjoy this double feature…long live the 45…..

On his debut 12" EP, Chicago producer and bike messenger DJ HANK captures the feeling of racing against traffic and, as he puts it, "trying to make it out alive with the chaos of the city going around you."

DJ Hank grew up in North Carolina, Eastern USA. As a teenager, he began making rap beats on pirated music software while also DJing and playing keyboards in experimental punk band Whatever Brains. In 2011, at age 18, Hank moved to Chicago to pursue a career as a bike messenger. In a city dominated by 21+ clubs and venues, Hank gravitated to the famous footwork hub Battlegroundz due to it's all-ages inclusivity and raw energy. DJ Rashad, DJ Spinn and other luminary figures of the footwork community spun weekly, while dancers spanning multiple generations and crews battled it out on the dance floor every Sunday.

Through the underground network of Chicago footwork events, Hank became a close and frequent collaborator with international footwork collective Teklife. He has released music on Teklife's record label but isn't a member of the group itself. In similar fashion, he's loosely affiliated with dance group Take Ova Gang (TOG) founded by DJ Manny. Hank maintains a fluid relationship with the footwork culture from which his sound draws. Beyond collaborating with his friends, Hank has collaborated with Chilean rapper Catana, Berlin-based DJ Paypal, and Floridian DJ Orange Julius.

On "Traffic Control," however, Hank explores a wide range of sounds, from melodic to experimental, influenced by everything from UK Garage and Grime to Ghetto House and Snap music (or Southern Hip hop production in general). Artists like Kode9, MachineDrum, and Sherelle have been supporters of Hank's music, playing his tracks throughout multiple recorded sets. In a live setting, Hank has shared the stage with such influential acts as Loefah, DJ Deeon, Sporting Life, DJ Spinn, Traxman, and pioneering footwork artist Jana Rush, who has been both a friend and mentor to Hank during his formative years in Chicago.