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1967 setzte Nancy Sinatra ihren künstlerischen Aufstieg in die Pop-Stratosphäre fort: mit dem James-Bond-Titelsong ,You Only Live Twice", dem groovigen Farbfernsehspecial ,Movin' With Nancy", der Aufnahme eines der beliebtesten Duette aller Zeiten, ,Some Velvet Morning", und einer Pilgerreise quer durch das Land ins Zentrum der Country-Musikszene. Nancy reiste nach Nashville, um ihr fünftes Album in den RCA Studios aufzunehmen, wo viele der größten Country-Songs aller Zeiten entstanden sind. Auf ,Country, My Way" verschmilzt Nancy ihren persönlichen Stil mit der Country-Musik, was zu einem neuen hybriden Sound führt. Der Produzent Lee Hazlewood nannte es ,Hippie-Billy". Zwar wird der zeitgenössische Country-Sound vielen zugeschrieben, doch wie bei vielen Meilensteinen der 1960er Jahre war Nancy eine der Ersten. Nancy Sinatra war gleichermaßen stark, schwül und klug und war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys kultigem Album von 1967 ist eine wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Singles "Jackson" und "Oh Lonesome Me", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und kommt in dieser Auflage mit fünf Bonustracks: den Non-Album-Singles von 1967: "Love Eyes", "You Only Live Twice", "Lightning's Girl", "Until It's Time for You to Go" und "Tony Rome".

1967 setzte Nancy Sinatra ihren künstlerischen Aufstieg in die Pop-Stratosphäre fort: mit dem James-Bond-Titelsong ,You Only Live Twice", dem groovigen Farbfernsehspecial ,Movin' With Nancy", der Aufnahme eines der beliebtesten Duette aller Zeiten, ,Some Velvet Morning", und einer Pilgerreise quer durch das Land ins Zentrum der Country-Musikszene. Nancy reiste nach Nashville, um ihr fünftes Album in den RCA Studios aufzunehmen, wo viele der größten Country-Songs aller Zeiten entstanden sind. Auf ,Country, My Way" verschmilzt Nancy ihren persönlichen Stil mit der Country-Musik, was zu einem neuen hybriden Sound führt. Der Produzent Lee Hazlewood nannte es ,Hippie-Billy". Zwar wird der zeitgenössische Country-Sound vielen zugeschrieben, doch wie bei vielen Meilensteinen der 1960er Jahre war Nancy eine der Ersten. Nancy Sinatra war gleichermaßen stark, schwül und klug und war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys kultigem Album von 1967 ist eine wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Singles "Jackson" und "Oh Lonesome Me", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und kommt in dieser Auflage mit fünf Bonustracks: den Non-Album-Singles von 1967: "Love Eyes", "You Only Live Twice", "Lightning's Girl", "Until It's Time for You to Go" und "Tony Rome".

NOTON is pleased to announce the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series.

For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images—both visual and acoustic—that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach.

Initially characterized by rawness and a conceptual focus on seeking resolution in white noise, the later works engage with themes of dissolution while shifting their emphasis toward acoustic particles. The copying process is now less visible through software manipulation; rather, it unfolds as the artist describes melodic and acoustic images that are then manipulated, copied, and transformed into new patterns during composition.

Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo.

The conclusion of this album holds a sense of finality for the artist. “I aimed to create a whole cycle of tracks that frame both the beginning and the end,” Nicolai explains. “The motif of the journey continues, but this time, the story reaches a dissolution through a conceptual object that embarks on its own journey into infinity. The word “dissolution” (“Auflösung” in German) is a wonderful concept. On one hand, you can solve a riddle, on the other hand, a pill can completely dissolve in water. Here, I am deliberately describing the process of dissolution.”
In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. “This album probably took the longest to complete,” he reveals. “I first created melodic sketches, which became the foundation for the pieces. These recordings are created entirely from scratch. Based on these sketches, I constructed the process of copying, manipulating, and reshaping.”

Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. “This experience of working with acoustic classical instruments has flowed into the compositional process for Xerrox Vol. 5. Certain instruments are designed with potential orchestral translation in mind.”

The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance.

“Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. "Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.”

Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. “I prefer to allow the music to evoke personal experiences and images rather than dictate a specific narrative,” he states. The result is a layered listening experience that invites tenderness and introspection.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

First Word Records is proud to present 'Nothing Leaves The House - The Anthology'. A vinyl-only album of 16 hip hop instrumentals from Mr Thing, kidkanevil, Tall Black Guy & Eric Lau. This is a collection of a long-out-of print series of beats from four of the most revered beat-makers in the underground scene.

This double-vinyl collection features four brand new tracks specially created for this 10 year anniversary release. The concept behind this project was originally birthed on Record Store Day 2012. First Word label founder Gilla explains "as we dipped in and out of London's Soho record shops, kidkanevil mentioned to me that he wanted to mine Mr Thing's vast record collection for samples. An idea formed to invite a couple of other beatmakers to join him and to press the resulting beats onto vinyl.

Mr Thing enthusiastically agreed to the idea with one stipulation: they could sample what they wanted, but the records had to stay within the walls of his flat. We quickly enlisted Eric Lauand Tall Black Guy to complete the quartet and 'Nothing Leaves The House' was born." The release came to fruition and was released a decade ago, for Record Store Day in April 2014. The quartet met up once again shortly after in another London record shop, to work on a follow up project.

For this one, Mr Thing brought one record for each producer from his collection for them to sample. They reciprocated by picking a record from the racks in the shop for him to use. 'Thing Leaves The House' was then released in 2015. Completing the trilogy of releases, the crew were invited to the legendary John Peel Archive to dig for samples there. After trawling the legendary Peel Acres collection, the producers individually selected sound snippets to create new beats from; this time under the stipulation that 'Nothing Leaves The Archive'. This double 7" release again landed on Record Store Day, 2016. Gilla says "10 years on from the release of the first record, and almost 9 years to the day since we were at Peel Acres, we are now releasing the 4th and final volume.

Whilst Mr Thing is still in England, the other three have travelled far and wide. Eric Lau is now in China, Tall Black Guy has returned to the US and kidkanevil has moved to Berlin. Our indie label budget didn't extend to uniting everyone from the different continents, so instead Mr Thing uploaded a folder of tracks for the trio to work from. With the previous volumes now long sold out, we've added the original beats to this anthology and have moved up from a double 7" to a double 12" LP. One side for each producer; four tracks made across 10 years." 'Nothing Leaves The House - The Anthology' is released on double vinyl, on Black Friday, November 29th 2024.

Canadian band the Holiday Crowd as part of the Snowflakes Christmas Singles Club, it was a match too good to not be made. The Toronto, Ontario-based indie rockers formed in 2010 and released a mini-album, a full-length and a 7" between 2012 and 2016. In 2022, the group returned with a new single, 'Party Favours', like their other records released by Portland, Oregon label Shelflife Records. Despite being Canadian, the band's sound is heavily influenced by British indie rock of the 1980s and early 1990s. For their Snowflakes Christmas single, the original four members of the band, lead vocalist Imran Hanniff, guitarist Colin Bowers, British-born bassist Alex Roberts and drummer David George Barnes, reunited to write the original 'Winterland'.

Winterland' takes you right back to the 1980s with its jangly guitar, rolling bass, pounding drums and Imran's warm vocals. The song seems to look back on childhood memories, but the parts about the heart that turned to coal, the last-minute shoppers and the 'graveyard malls' show that there is a deeper meaning to the lyrics. The single's B-side 'Hard Candy Christmas' was written by Carol Hall for the 1978 musical 'The Best Little Whorehouse in Texas'. The song became a hit for Dolly Parton in 1982 when it was featured in the movie version of the musical in which she starred. The Holiday Crowd's reworking of the song perfectly captures the melancholy of the original, with its message of focusing on the sweet things in life, even when times are hard. The single is released on snow-white bio-vinyl in a sleeve with a playful design by Kenichi Ueda and limited to 300 copies.

First Word Records areproud to present a new double-AA sided collaboration from K S R and Konny Kon (Children of Zeus) - 'Part of the Plan / Faded from the Jump', available on 7" vinyl and digital.

Two of Manchester's finest r&b ambassadors, the duo team up for two tracks displaying very different styles of soul music.

'Part of the Plan' has a timeless classic feel, nodding back to the likes of Stax and Atlantic, akin to the contemporary sound of Daptone artists like Jalen Ngonda or Thee Sacred Souls. Waves crash on the dock of the bay, with [ K S R ]'s soulful tones and Konny's laidback production (accompanied by Son of Zeus, Tyler Daley on the backing vox).

'Faded from the Jump' is another three and a half minutes of bliss, taking on a sound that's more signature to the duo's previous work, individually and collectively, sitting somewhere between future r&b, neo-soul and classic Manny street soul. [ K S R ] again takes the lead on this smoothed-out cut, with Konny behind the boards on production.

[ K S R ] hails from Moss Side and has been steadily building a strong rep for himself over the past few years with a slew of releases, including an EP and several singles via First Word. He was named "R&B act to watch" by Complex, and hand-picked by Mahalia to perform an event she curated personally at London's Jazz Cafe. He's toured with artists including Pip Millet, Etta Bond, Mica Miller & The Mouse Outfit, and also collaborated with various d&b artists, such as Zero T, Lenzman, Searchlight and Makoto. Music aside, [ K S R ] has also been creative ambassador for New Balance, Foot Locker, Nike, Size? and Manchester United.

Konny Kon is best known for being one half of hip hop soul duo, Children of Zeus. With performances for Colors and Soulection, and support from peers Jazzy Jeff, Jazzie B, Loose Ends & countless others, Children of Zeus have released two highly-acclaimed albums and two EPs on Worldwide Award winning-label, First Word. Additionally to writing, performing and producing, Konny is a formidable DJ, hosting a popular monthly show on NTS Radio, and performing at numerous events; most recently supporting Mercury Award-winner's Ezra Collective at every date on their European tour, culminating in a show with Children of Zeus at Wembley Arena, London.

Both artists have had wide support across the board from numerous tastemakers, including 1Xtra, BBC Radio 1, BBC 6 Music, Rinse, Represent, Unity, Mixmag, Notion, Hypebeast and tons more. The duo have previously collaborated on 'All on You' (from the CoZ album 'Travel Light') and single 'CGWY' (from [ K S R ]'s EP 'Peace + Harmony').

This single showcases the vocals of [ K S R ] and the production of Konny Kon to a degree that exudes pure quality and class, exemplifying the power of modern British soul music.

'Part of the Plan / Faded from the Jump' is released on 7" vinyl and digital, 22nd November 2024.

Carrying on a string of stunning archival releases from major figures of Indian classical tradition (including releases from members of the Dagar family and Amelia Cuni), Black Truffle is pleased to announce an unheard recording from tabla master Kamalesh Maitra (1924-2005). For over fifty years, Maitra devoted himself to the rare tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of the raga to be performed. While the tabla tarang has its origins in the late 19th century, Maitra was the first to recognise its potential as a solo concert instrument, using the set of tuned drums to perform full-length raags. Seated behind a semi-circular array of drums, Maitra produced stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist.

Across his career, Maitra performed in ensembles led by Ravi Shankar, collaborated with George Harrison, and led his own East-West fusion group, the Ragatala Ensemble. However, it is in the solo setting that his remarkable artistry and the otherworldly timbral qualities of the tabla tarang are most strikingly on display. Recorded during the same 1985 Berlin sessions that produced Maitra’s self-released solo LP Tabla Tarang: Ragas on Drums, on Raag Kirwani on Tabla Tarang we are treated to Maitra stretching out for over forty minutes on the late night Raag Kirwani, accompanied by Laura Patchen on tabla and Mila Morgenstern and Marina Kitsos on tanpura. The performance begins with the traditional free-floating exposition section, where Maitra’s spacious melodic improvisation at times almost resembles a plucked string instrument (like the sarod, which Maitra also played). For the listener unaccustomed to the tabla tarang, the sound of these microtonally inflected melodic patterns played on drums has a magic quality. As Maitra begins to imply the rhythmic cycles more strongly, Patchen joins on tabla, beginning half an hour of rhythmic-melodic exploration, where virtuosity sits side by side with delicacy and meditative attention. Accompanied by beautiful archival images and extensive liner notes from Laura Patchen, for many listeners Raag Kirwani on Tabla Tarang will be the perfect introduction to the magical world of Kamalesh Maitra, released to coincide with the hundredth anniversary of the master musician’s birth.

Having worked silently in her sonic philosophy for almost a decade, vocalist, music producer and Dj Telva has launched her music label byt’, starting with the publication of her debut album. The album, ‘Revelation’, opens with an unusual and experimental offering, which sets the tone for the label's subsequent eclectic and unexpected releases. The compilation of 10 tracks, has been documented for 5 years through an experimental vocal, instrumental sonic journey, that is composed of Telva's life experiences during this period.

Telva is a vocalist, producer and only vinyl Dj based in Berlin. Defining her path through art in every sense of it by turning passion into a way of life, she has been playing and collecting records as main craft since 2016. Followed by uninterrupted hours in the studio, her creations and sonic philosophy, aka record label byt’, have been materialized by the wide range of influences she’s been absorbing along her way as an artist, where different cultures, scenes, and places have shaped and influenced her understanding and projection of her musical vision. Her love for the underground movement and the deep work in silence have made her music shows special and respected. For listeners and dancers, her well-chosen exposure is an unexpected experience. Her purpose is to offer quality music based on eclectic diversity, that surprises the audience with the love it spreads through sound, aiming to touch their hearts. ‘Music is a channel of transmission in where to materialize one’s lifetime vision’

Byt' (быть in Slavic meaning 'to be' / pronounced 'beat') is a music philosophy, also known as a record label, focusing on the connection between music and artist as a primary form of communication and source of expression. It represents 'the music of the being'. 
 The meaning and purpose are to comprehend the concept of musical interpretation through the artistic vision of the person behind it, by appreciating the significance of conveying a life experience through sound, making a recognition on what is behind the music we listen to. The label will be composed of solo releases, sonic cinematic experiences, collaborations and other archives, spanning an unlimited wide range of genres, yet rooted mainly in electronic music.

Rome’s very own Electro-Psych outfit, Big Mountain County, is set to release their third LP ‘Deep Drives’ on November 29th via Sister 9 Recordings. After unveiling their latest EP, ‘Klaus’, at the New Colossus Festival in New York and SXSW in Austin, the band took a year-long studio break, honing and redefining a distinctive sound that bridges primitive Garage Rock and Neopsychedelia with Electroclash, Kraut and Disco. Stay tuned for updates as we’ll reveal more details and the release date in the coming weeks. Big Mountain County was formed in Rome in 2013 after four southern boys, two from the slopes of Mount Etna and two from the Adriatic Coast, came together. They instantly bonded over their mutual love for The Stooges, MC5, The Velvet Underground, and Joe Spencer, leading to the release of a 7-inch record brimming with raw Garage Rock & Roll. This debut propelled them into an exciting tour across Eastern Europe, hitting countries such as Hungary, Serbia, Croatia, and Bosnia-Herzegovina. They soon moved beyond Garage Rock to immerse themselves in the European Neopsychedelic resurgence and spent the following years carving out a reputation in the vibrant continental live scene. They dropped two LPs—Breaking Sound (Gas Vintage Records, 2015) and Somewhere Else (Porto Records, 2020)—along with two live albums. After relentlessly touring across Europe and the UK and opening the Italian tour for the U.S. band Cloud Nothings in 2019, they finally hit the US in 2023, gracing six different venues at SXSW and sharing stages with Osees and Os Mutantes. By the time they returned to Italy, they had secured summer opening slots for the likes of Brian Jonestown Massacre and La Femme. That year’s EP ‘Klaus’ marked a bold new chapter, showcasing a thrilling shift, diving into a more dance-driven and electronic sound. Featuring collaborations with electronic psych producer and LEVITATION DJ in residence Al Lover, along with the distinguished Roman producer Hugo Sanchez, the making of ‘Klaus’ provided the band with a revitalizing spark, steering them into a new musical direction

NYC duo Straw Man Army return with their third LP, “Earthworks”, to complete a trilogy of records begun with 2020’s “Age of Exile,” and 2022’s “SOS”. Whereas “Age of Exile” dealt with the haunted landscapes of colonial history in the Americas, and “SOS” gave voice to a crisis of the present moment, like a prayer in bewildering times, 2024’s “Earthworks” signals the band’s attempt to close this trilogy by turning their gaze towards the future, where paradox, complexity and contradiction spiral in ascendance to an agonizing pitch. While continuing to develop their own style of anarcho-punk, “Earthworks” finds the band pulling once again from jazz and ambient influences, expanded Krautrock rhythms, and post-rock experiments, with a stronger emphasis on melodic vocals and varied song structures than on previous offerings. Taking cues from the wistful anti-war harmonies of The Byrds and the angry melodies of Zounds, tracks like “Turn the Wheel” and “Second Nature” mark new territory for a group whose messages and methods of experimentation have merged to form a singular sound equally at home on All the Madmen Records or in the spiritual legacy of ESP Disk. “Earthworks” is an album that holds and subverts many contradictions—juggling the weight of melancholy, grief, guilt, impunity, and the yearning for clarity against the backdrop of boiling wrath; the wrath of nature, the occupied, the dispossessed, and of the mind against itself. To quote the track “Spiral” — “Is this all that’s left for us these days? / Apathy and rage?”— Straw Man Army offers this record as a companion to our frustration, our sickness, our despair, and a lifeline for our fugitive attention in the struggle for peace.

"The new album of the Maîtrise de Notre Dame de Paris is a world premiere recording of a new Magnificat written by composer and long-time Notre Dame choir organist Yves Castagnet.
Release date ties in with the official re-opening of the Notre Dame Cathedral in December 2024 (public opening December 8, 2024).
France TV will dedicate a special program to the opening on December 7, 2024, in with Gautier Capuçon and the Maîtrise de Notre Dame de Paris. The event will be covered by worldwide media.
Recording was made by Maîtrise de Notre-Dame de Paris, Chœur d’adultes, Henri Chalet, conductor, Yves Castagnet, Organ.
Soloists: Thaïs Raï Westphal, Anouk Defontenay, Jordan Mouaïssia and Carlos Builes Velez
The Magnificat will be premiered live at Notre Dame on December 9, 2025, at the ceremony inaugurating the fully restored choir organ.
“The Magnificat has accompanied me in my daily life for over 30 years. In fact, this text appears daily in the Catholic liturgy, every evening of the year, in the office of Vespers. Every evening, I accompany the singing of the Magnificat on the organ as part of the services at Notre-Dame Cathedral. The Virgin Mary's own words, sung in this cathedral dedicated to her... How can you not be moved by the power and beauty of this text?” says Yves Castagnet."

First time on LP worldwide / New liner notes by Graham Parker / Includes the fan favourites "Blue Horizon," "I'll Never Play Jacksonville Again," and "Socks 'N' Sandals" / Packaged as an LP with bonus 7" single / Remastered for vinyl by the album's original co-producer and engineer, Dave Cook / Graham Parker has been pre-promoting this upcoming LP release from the stage/ Graham Parker's fifteenth studio album, Deepcut to Nowhere, was first released by the independent label Razor & Tie in 2001. Parker recalls, "Within weeks after the release date of Deepcut to Nowhere, I was up early driving from New York State to Boston on what seemed like the most beautiful day in the history of autumn, to rehearse with the Figgs for a festival in Oregon, slated for a few weeks later, followed by a tour to support the album. That day was September 11th, 2001." In the aftermath of the attacks, Parker comments, "The press members I spoke to could barely get past the first track on Deepcut to Nowhere, 'Dark Days,' asking me if I was some kind of 'seer,' or had a mysterious crystal ball. Followed by 'I'll Never Play Jacksonville Again,' the opening salvos of the album seemed to capture imminent trauma, but of course, I was just writing songs." As the 12-song set progresses, Parker's focus expands to include the nostalgic "Blue Horizon" ("as emotionally rich a song as I'll ever write"), a dark-humoured take on the evils of colonialism ("Syphilis and Religion"), and the indignity of wearing socks with sandals. Taken together, Deepcut to Nowhere is among Parker's finest and most varied collections of songs, several of which have gone on to become setlist staples. Deepcut to Nowhere, originally released on CD only, finally makes its worldwide LP debut.

All the music in the world is at your fingertips, and it's up to you to set the vibe_ So, what should we listen to? If you're having trouble deciding, turn on the radio. It's the perfect place to discover something new, or jam along to a tried-and-true station that'll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it's a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It's the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez' musical career revolves around hip hop. He's always preferred to sample songs from the late 60s and early 70s because of the authentic tone. "Growing up collecting and sampling records was an education, whether we realized it or not," he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he's always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh "Mojo" Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you're looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic. Tune In is available everywhere on 11/1/24.

Poly dance Theatre speeds up the tempo (perhaps in search of lost time) and so here already the first announcement for the next release: POL008, called "Le Commerce" (The Business).

It's a very special record. Beyond the deep bass line, the efficient ryhtmics and the ghostly apparitions of dubbed-out commercial romantic melodies, this 10" is above all an object-question, a small political gesture of sabotage. Be careful. Be careful. Rare! Very very very rare! even unique! (…300 copies)

Prepare yourself "mentally", as the EP contains 4x the same track (and that's all). A track that spins. A track that does the trick. An eternal return. Difference and repetition? All this is a opportunity to question consumption, especially in the "world of music", the "world of records", the "world of DJs", the "world of nightlife"... and so on. Production, distribution, consumption. Objects. Things. A history from the 60s to today. Where are we now? Still here: Organizing lack in the abundance of production. Lack. Abundance. A history of desires. And music? What's its role? What do we want? What do you want?

On the cover, there are poems/collages about commerce, scarcity, abundance, commodity fetishism, an insulting letter and other little things.

Workout features a mix of original compositions and jazz standards, highlighting Mobley's ability to blend sophisticated harmonies with rhythmic complexity and received critical acclaim upon release and is regarded as one of Mobley's finest works

The album has been praised for its engaging arrangements and the strong interplay between the musicians, the tracks often feature rhythmic grooves and vibrant solos, which became characteristic of the hard bop movement. Released in 1962, it is considered a classic in the jazz genre, particularly within the hard bop substyle and it's often recommended for both jazz enthusiasts and newcomers to the genre and showcases Hank Mobley's lyrical approach to the saxophone and is frequently included in lists of essential jazz albums. The album continues to influence contemporary jazz musicians celebrated for its artistry and innovation, making it a significant contribution to the jazz landscape of the 1960s. So Workout stands as a significant milestone in jazz history, exemplifying the creativity and musicianship of its time: with its engaging compositions and stellar performances, the album remains a beloved classic, inviting listeners to explore the depth and beauty of hard bop jazz, a treasure that continues to resonate within the jazz community.

Anything goes, everything is OK,’ is New Cool Collective’s free and easy creed. These eight jazz players are continually reinventing themselves, finding new inspiration and inspiring others. Brilliant as ever under a new spotlight, New Cool Collective excels on their 25th album Everything is OK, released by Dox Records this autumn on 25 October 2024.

Earlier this year, the band celebrated its thirtieth anniversary with a pocket-sized ode to their prolific past: 30 Years Live. Having played and partied, the group turned their attention to the future: what next for an ensemble that thrives on musical experiment and collaboration? Where to now? Which way to go to rekindle that creative spark and foster that flame?

New Cool Collective has met the challenge head-on, determined to surprise their audience, and themselves too. They spent a little time reflecting, considering suggestions, weighing up options – eight creative artists exploring, coalescing. Soon their ideas gelled into something special. They laid down a series of tracks that both build on the band’s thirty-year history and feed on a newfound freedom to simply be New Cool Collective. Everything is OK embodies that sense of a group which knows how to surpass expectations, to make music from the heart, to go back to their roots, back to the essence of those early years.

Anything goes, everything is okay on a record that features extensive brass arrangements and orchestral elements. There’s something magnificent about those seductively intimate tracks, something way beyond the traditional orchestral big band sound. New Cool love to experiment with alternative production techniques, developing the final mix themselves to create a unique, unmistakably recognizable sound – however surprising or unusual the music, you know you’re listening to New Cool Collective – like you’re there and the band is playing just for you.

Everything is OK is brimming with ideas, surprise and humour. The music is contemplative, yet it also leads straight to the dance floor: it gets you moving – body and soul. This is music for the intellect, to take you out of your comfort zone and to show you subtly, ironically: is everything really ok?

THE CLASSIC 1990 ALBUM REISSUED & REMASTERED BY ED WYNNE ON COLOURED VINYL FOR FIRST TIME ON KSCOPE

One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It’s an open exploration of music and the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock and roll life. The band has flourished through a number of line-up changes, spawned several side projects, created their own record label, scored a hit record and sold over a million albums world-wide. And yet, the basic motivation behind the band’s existence has never wavered.

Their signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboard and midi samplers, and super-groovy bass and drum rhythms continues to delight fans across the world to this day.

Erpland, the band’s 1990 eighth release, is considered one of their finest works. This 2LP set presented in wide spine packaging, will be released on turquoise heavyweight vinyl as the third title in t

The experimental project Pissoff was founded in the late 60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud and soundwise undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ and drums. In 1968 Pissoff performed together with Joseph Beuys who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Hndaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet and tenor saxophone while the other members added sounds by electric guitar, electric bass and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff.

Suffocating, the hidden child of Plastikman, Farmer's Manual and Warp. The glitches could just as well be the disgusting sound system of the club crackling under the humidity as a rhythmic pan too well timed to be honest. From durations to sound grain, the gloves are removed. The standards are far behind, the pleasure vibrates from the ears to the lower abdomen. The listener manages to get lost on a straight line, the perfect labyrinth according to Borges, but the exits flash red for those who want to escape. Will Elvis leave the building?.

In 1962, Gordon relocated to Paris, where he became part of a vibrant jazz community

He was already a well-established figure in the jazz world due to his groundbreaking work in the 1940s and 1950s. His decision to live in Europe revitalized his career, allowing him to continue evolving as a musician away from the struggles in the USA: he enjoyed enormous respect in Europe, which allowed him to perform freely, often in clubs and on tours, without the burdens of American racism. Paris had long been a haven for jazz musicians: artists like Miles Davis, Thelonious Monk, and John Coltrane were celebrated in Europe, and the French jazz scene, in particular, became a hotspot for both American expatriates and European musicians. Dexter Gordon quickly became one of the leading figures in that scene. Our Man in Paris is a celebrated jazz album and it is widely regarded as one of Gordon's best works. It is considered one of Gordon's finest albums due to its blend of bebop virtuosity, lyrical improvisation, and the tight interplay between world-class musicians: a classic jazz record, beloved for its authenticity and the inspired performances of Dexter Gordon and his ensemble. This album is now considered a classic in the jazz canon that's not only a remarkable album because of its flawless execution and historical significance, but it also captures a pivotal moment in jazz history where American jazz musicians were embracing new experiences and sounds in Europe and captures the essence of Gordon's bebop roots while showcasing the influence of his time in Europe.

'We are thrilled to be able to bring you Yara Asmar's first two cassette releases in a deluxe remastered double vinyl gatefold package featuring all new art and design from Yara herself.

Both albums were originally released on Hive Mind Records in 2022 and 2023 and received critical acclaim around the world':

“Melancholic drifts sound through the overcast skies of synth waltzes and accordion laments, infusing ageless melodies with a sense of falling backward through time. History is stitched through gilded aural silhouettes and elegiac drones. Asmar’s music is visceral. While electronics beckon beyond the sunrise stretched through a metallic shimmer, synth waltzes and accordion laments sticks with us while we remain lost in the hazy doldrums, always crawling forward tethered to our past lives. Highest recommendation.”
Brad Rose, Foxy Digitalis

"...these tracks are a cushion against reality. Asmar creates music that unfurls in evanescent bliss, an invitation to a safe space both isolated and welcoming."
Daryl Worthington, The Quietus

"...a set that transmutes the instrument’s droning tones into a sweep of introspective, breath-catching moments of beauty"
Eric Torres, Pitchfork Best Jazz & Experimental Albums of 2023

"The combination and contrast of highly familiar and highly alien elements give Asmar's music a quality not quite like anything else I can name. The way she channels found voices into her surreal mix of sounds is particularly striking."
Byron Coley, The Wire

WRWTFWW Records is happy to announce a new collaborative album between Polish producer, multi-instrumentalist and sound engineer Albert Karch (notably known for his superb 2019 album Celestially Light featuring Ichiko Aoba) and Irish ambient master and label’s favorite Gareth Quinn Redmond (Ar Ais Arís, Laistigh Den Ghleo, Umcheol albums from the WR catalogue). The 6-track LP comes as a limited edition of 300 copies worldwide with an artwork by Dublin artist Barry Gibbons and liner notes. It is available in digital format as well.

Recorded in at Albert Karch’s studio in Warsaw in January 2023, Warszawa is conceptually rooted in the reason the two artists met in the first place: the work of Japanese composer Satoshi Ashikawa (Still Way - Wave Notation 2) who sought to compose a time that was stationary. Sparse in approach but sharp with intention, the 6 pieces of the collaborative album were sculpted with precise and floating use of piano, drums, synthesizers, and strings. The result is gentle but emotionally deep minimalistic ambient, reassuring environmental music with an indescribable Mark Hollis touch, also an artist whose worked influenced the recording sessions.

Gareth Quinn Redmond’s previous albums, Laistigh Den Ghleo, another ode to the work of Satoshi Ashikawa, Umcheol, mixing ambient with traditional Irish music instruments, and his tape loops wonder Ar Ais Arís are still available on WRWTFWW Records - complete the collection now!

Warszawa by Albert Karch and Gareth Quinn Redmond is dedicated to the memory of Satoshi Ashikawa.

The Dutch groove-driven heavy rock band Hell Valley High releases their highly anticipated debut-lp “Welcome To Hell Valley”. The album was recorded at Big Dog Recordings, just outside of Antwerp, Belgium. All music was recorded live to capture Hell Valley High’s true energy. The title is a nod to the legendary 1994 Kyuss album. At the same time - like the band’s name - the title is an ode to the band's favourite movie Back To The Future. “Welcome To Hell Valley” includes groovy & grungy songs and catchy fiery stoner rock tunes. The album also contains a cover of the song “Send Me A Postcard”, that was originally released in 1970 by Shocking Blue. Hell Valley High is composed of seasoned musicians who have played a lot of shows in The Netherlands and toured Europe extensively. The group features ex-members of Wildebeast, Filthy Felons, Note To Amy, Apehanger and Junkyard Safari. Black and orange coloured vinyl edition.

Upon its release, Big Band Bossa Nova by the renowned American music producer, conductor, arranger, and composer Quincy Jones, released in 1962 received favorable reviews from critics, who praised its innovative arrangements and the seamless integration of bossa nova into big band jazz

It was noted for its lively and fresh sound, appealing to both jazz enthusiasts and fans of Latin music. Over the years, the album has been recognized as a classic in the realms of both jazz and Latin music. It continues to influence musicians who seek to explore the fusion of different genres. The album played a crucial role in popularizing bossa nova in the United States, introducing many listeners to Brazilian music. It paved the way for future collaborations and crossover projects between jazz and Latin music. It is often cited by contemporary artists and arrangers who are inspired by its innovative blend of styles. Its influence can be seen in various genres, including jazz, pop, and world music and is a testament to Jones's ability to adapt and innovate throughout his career. It solidified his status as a pioneer in the music industry, influencing countless artists across genres and generations. Big Band Bossa Nova not only captures the essence of its time but also continues to resonate with audiences today, highlighting the enduring appeal of both big band features contributions from several talented musicians.

After a two-year silence, the Russian imprint Goodbye Royalty returns with a 12-inch Line Conductors EP. The release is only for vinyl media and embodies the eclecticism of dance, creative minimalism, and the conceptual idea of the album is in a positive experience and purity of spirit. "Line Conductors" and "Topass" have a different set of sound solutions, but the psychedelic shades characteristic of Acusmouse are quite intelligent. Ab Show takes another step forward without departing from its usual sound, offering absolutely two different scenarios. With the frivolous, atmospheric "Antithese" and the deeper and hypnotic "Subminimal Message", where the protracted development of the composition allows you to immerse yourself in the associative images of the new time.

The first eponymous album by Biglietto per l’Inferno, released in 1974, represents one of the most significant and influential peaks in the Italian progressive rock scene, a constant presence in any Italian rock records of all time “best of” list.

Anything related to this masterpiece has become iconic and timeless, from the cover image made by visionary photographer Cesare Monti to the album’s unique sound for that era, from the challenging and refined lyrics by the histrionic singer Claudio Canali, who later retired to a convent until his death in 2018, to the record company bankruptcy that caused the end of the band’s career after only two years, to a second album, “Tempo della Semina”, that remained unreleased until many years later.

Celebrating 50 years since the release of “Biglietto per l’Inferno” is therefore more than necessary.

This commemorative white vinyl edition, with a special 350gsm cover and a 60x30cm insert with lyrics, a presentation of the album written by music collector and connoisseur Mox Cristadoro, as well as a collection of photographs from those unforgettable years. A must-have release for any music collection!

Francoise Hardy's Vogue years have marked the history of French and international music. Even today, the five years between 1962-67 remain an exceptional moment in her career, the one when she exploded in the eyes of a generation that was born during or just after the Second World War, the generation that would be part of the May 1968 Paris protests. Hardy exploded not only in France alongside her fellow 'Yeyes', but also internationally where she became the symbol of French elegance, talent and charm: the United States, Japan, the United Kingdom, Germany, Italy, Spain... no one could resist Francoise, and she recorded most of her hits in English, Italian and German. 'Tous les garcons et les filles', 'Mon amie la rose', 'L'amitie', 'Le temps de l'amour', etc. are songs that have crossed generations and can be heard in recent movies (Wes Anderson loves Francoise Hardy and has included her songs several times in his films), international television series ('The Walking Dead', 'Industry', 'Week-end family') and advertising spots (Dior 2022 campaign). Available on x24 trk, double Black LP Vinyl & single CD formats. Marketing activity.

Airelle Besson, the French multi-award-wining jazz trumpeter, has been lighting up the European jazz scene for several years at the head of her quartet, duo with virtuoso accordionist Lionel Suarez, and the Besson/Sternal/Burgwinkle trio, featured here on 'Surprise!'.

A production without the inclusion of a bass player, the combination of trumpet, piano, and drums is both unusual and intriguing. The result is totally refreshing and provides a new dynamic to the jazz trio format. Featuring ten original compositions, five apiece from Besson and pianist Sternal.

As a much sought-after side-musician, and composer/arranger for the band Metronomy and the Orchestre National de Lyon, Airelle Besson has performed with Charlie Haden and Carla Bley, Michel Portal, Manu Katche, Philip Catherine, Billy Hart, Rhoda Scott, Daniel Humair, Henri Texier, Tom Harrell, Avishai Cohen, Greg Hutchinson, Jose James, and may others.

Airelle Besson: trumpet
Sebastian Sternal: piano, Fender Rhodes, FX pedals
Jonas Burgwinkel: drums

Recorded & mixed by Christian Heck at Loft Studios, Cologne, Germany.

Released in 1956 this album is a compilation of recordings from different sessions held between 1953 and 1954

Thelonious Monk and Sonny Rollins were both giants of jazz, each known for their individual approaches. Monk, with his unorthodox approach to rhythm and harmony, was one of jazz's most original composers and pianists. Rollins, one of the greatest saxophonists in jazz history, was known for his inventive and bold improvisations. Thelonious Monk was still establishing his reputation during this time. Though considered a genius by some, Monk's highly original style, marked by dissonant harmonies, abrupt rhythmic shifts, and a percussive attack on the piano, was still divisive among critics and audiences in the early '50s. It wasn't until later in the decade, when he started working with Columbia Records and gained wider recognition, that he achieved broader commercial success. Sonny Rollins, though younger, was already a notable figure in the jazz scene by this point, having played with Miles Davis, Charlie Parker, and Bud Powell. He was known for his inventive and bold improvisational style. In these recordings, Rollins was solidifying his status as one of the major voices on tenor saxophone. The album shows both musicians in their prime, experimenting with harmonies and extended forms. Even though the sessions were recorded at different times, there is a strong synergy between them, particularly in how Monk's percussive piano style complements Rollins' flowing saxophone. A record that captures a moment in jazz history, a testament to the artistic brilliance of both musicians and a significant piece of jazz history, blending the freewheeling spirit of jam sessions with complex, forwardthinking compositions.

2024 Repress

“Live at Sound City” is an instrumental collaboration between bassist Pino Palladino, guitarist/multi-instrumentalist/producer Blake Mills, and LA-based saxophonist Sam Gendel. Recorded in one day at the legendary Sound City Studios in Van Nuys, the EP presents new versions of compositions from Palladino & Mills’ Grammy-nominated 2021 album “Notes with Attachments” in an intimate chamber trio setting. Across four tracks, the accomplished trio explores common musical vocabularies, then goes about the work of defamiliarizing them in search of something new, blending the sounds of West African and Cuban music, jazz, R&B, English folk, pop, and beyond.

Pino Palladino is a Grammy Award winning songwriter, producer and bassist who helped create the rhythm-section sound of D’Angelo’s Voodoo and Black Messiah, and over a four-decade career has worked with artists including Keith Richards, Erykah Badu, Eric Clapton, Nine Inch Nails, Questlove, John Mayer, Paul Simon, Jeff Beck, Herbie Hancock and Adele.

Blake Mills is a two-time Grammy Awards Producer of the Year nominee. He has released four solo albums and produced and recorded with artists such as Alabama Shakes, Fiona Apple, Bob Dylan, John Legend, Perfume Genius, Jim James, Moses Sumney, Laura Marling, Phoebe Bridgers, Cass McCombs, The Killers, Sara Bareilles, Weyes Blood and Randy Newman. His most recent album Mutable Set, released last year, was praised by Pitchfork as “a hushed collection that floats through the subconscious like a tender dream,” and earned their Best New Music title.

Sam Gendel is a musician living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes collaborations with a wide range of artists including Ry Cooder, Laurie Anderson, Mach-Hommy, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world.

Rival Sons play Rock N Roll in its purest form without apology or pretence. Beyond sharing stages with everyone from Black Sabbath, The Rolling Stones, AC/DC to Guns N Roses, they’ve ignited television shows such as The Late Late Show with James Corden & BBC2 Later Live with Jools Holland. Along the way, they’ve architected a critically acclaimed back catalogue that has earned them multiple GRAMMYâ nominations and 100s of million of streams. 2024 marks the 10th anniversary of the 3rd studio album ‘Great Western Valkyrie’. Originally released in June 2014, this album propelled Rival Sons to Rock N Roll royalty featuring the fan favourites ‘Electric Man, ‘Open My Eyes’ & ‘Good Things’ . It became the first Rival Sons album to achieve Top 20 status in the UK Album charts (peaking at #14). This very special anniversary edition includes the original 2 bonus tracks from the album’s 2014 Tour CD-Edition, first time on vinyl. Jay Buchanan’s voice is stunningly soulful whilst Scott Holiday’s signature guitars riffs,licks and solos elevate the sonic landscape that Rival Sons create to another level.

Sgt Papers are a punk rock duo of brothers Ivan and Felipe Garcia from Hermosillo, Sonora, in the heart of the desert in Mexico. They started in 2017 releasing their first album “Sgt. Papers Lonely Psych Punk Band” independently, creating a buzz in the local independent rock scene and the independent scene in the US. They began touring the US playing both clubs and festivals. They followed this with two more albums in 2019 and 2021 while the same time helping grow the rock scene in Hermosillo. Their following grew along with the band. Their approach to recording and touring has been very DIY. The band’s sound is a combination of psych, garage, punk all played with plenty of distortion.

Roberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR/WDR in Germany, GRM/IRCAM in France or BBC Radiophonic Workshop.

Originally released in 1979, Sei Note In Logica (Six Notes In Logic) is Cacciapaglia's second album. While his debut, Sonanze, offers a series of ambient mini-soundtracks, Sei Note presents a singular, sinuous piece. The composition is based on a finite set of musical notes, yet this limitation is the point of departure for a grand tour of possible combinations and enthralling timbres (marimbas, strings, reeds and human voice).

Like Steve Reich's Music For 18 Musicians, the joyous experiment of Sei Note is grounded in constant variation. Often doubled by multiple instruments, non-repeating patterns are exquisitely layered, while electro-acoustic signals transform and further refract through visceral effects. Within this conceptual framework, Cacciapaglia does not so much juxtapose rigid dichotomies – acoustic vs. electronic, melodic vs. dissonant, simple vs. complex – as fuse them into an expansive whole.

What started as an inspired study in Minimalism becomes a bold feat of 20th century music. Sei Note In Logica is deeply sincere and, at the same time, quite playful. With one foot firmly planted in the past and the other steeped in technology, Cacciapaglia's influence can be heard in the work of Jim O'Rourke, Fennesz and Ben Vida.

Sophie Zelmani’s 2010 album I’m the Rain is a delicate and introspective collection of folk-inspired tracks, reflecting her signature soft vocals and acoustic sound.

The album blends minimalist arrangements with heartfelt lyrics, creating a soothing, atmospheric listening experience.

Standout songs like “You Can Always Long For May” and “If I Could” highlight Zelmani’s poetic songwriting and emotional depth, exploring themes of love, loss, and introspection. Her subtle use of acoustic guitar, gentle melodies, and whispery vocals evoke a sense of calm and reflection throughout the album. I’m the Rain solidifies Zelmani’s reputation for creating deeply personal and timeless music. For fans of intimate, folk-inspired singer-songwriter styles, I’m the Rain is a must-listen, offering a tranquil escape into Zelmani’s beautifully crafted world. I’m The Rain is a limited edition of 1000 individually numbered copies on white coloured vinyl.

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

Like the ever-changing seascapes of award-winning saxophonist/composer Josephine Davies" Shetland birthplace, the music of her Satori project presents a constantly evolving tableau, at once consistent and different every time. The music on "Weatherwards", pays direct tribute to the islands that she left at an early age but that continue to exert a powerful fascination for her, drawing her back, just as the Satori project has continued to draw her back over the course of seven years and four albums - "Satori is where I find myself most at home as a saxophonist."

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss, Charli’s story is one of an artist continuing to succeed without compromise.

Now in 2020, Charli is already breaking boundaries - this year has seen her first BRIT nomination for British Female Solo Artist, marking a huge moment of validation from a mainstream audience that Charli has built on her own terms. In reaction to the global COVID-19 pandemic of 2020, Charli has proven herself to be one of the most adaptable artists working today; initially providing programs of Instagram live sessions that invited various guests to spark conversation, share insight, or simply entertain fans across the world who are currently practicing social distancing. Charli’s vision then expanded further, leading her to announce ‘how i’m feeling now’ - a new album to be written, recorded and released in 39 days, completely in self-isolation. The creative process was also to push her collaborative stream in a unique way; opening up the recording, writing, artwork, music videos and more to fans for feedback and contribution - she also further inspired her fans’ creativity, allowing them access to song stems to create remixes and greenscreen footage to be edited using their own imagination.

‘how i’m feeling now’ has given further spotlight to Charli’s status as one of the most adaptable, exciting pop artists working today, and through it’s uniquely collaborative approach, provided a shared space for those who listen to feel safe enough to express themselves however they wish at a time when they need it most.