Search:the wonder years

LRK are excited to announce their next full album release LRKLP-08

'ALL I EVER WONDER' By Johnny Burgos

Available on LP/CD/DIGITAL

Singer, songwriter, and producer Johnny Burgos converges with veteran soul producer, Jeremy Page, (Kendra Morris, Czarface, MF Doom) to offer their first joint album together titled, 'All I Ever Wonder.' The album is a vividly vulnerable and honest effort by Burgos, lyrically and vocally, supported effortlessly by Page's masterful production. The pairing of the two seems meant to be, with a sound steeped in retro soul techniques, the album is equal parts novelty and nostalgia, equalling a timelessness that speaks to the humanity in all of us. All I Ever Wonder will be released on Vinyl, CD and all digital platforms on Friday, JUNE 28th, 2024 via UK-based Soul label LRK Records.

Johnny - "Jeremy and I have been ships passing in the night for years now. However, our first official collaboration was a 2021 remix of my song The Grey, which featured his long-time co-collaborator Kendra Morris. From the get-go, the musical chemistry was strong, so we took a shot at writing some original tunes. Since then, we've locked in on a creative groove and churned out a bunch of material. As we learned how to complement each other's musical strengths, the project took on more form and purpose, exploring heavier subject matter and expanding its range of genres. I'm pretty sure that's what makes this project so fun for us, and possibly what the early gatekeepers and listeners resonated with most. Neither of us expected such a reception to the music, which only made us more excited to hone in with more intention towards a goal. This also allowed me to bring more raw ideas to the table and have the confidence in Jeremy to hear the potential, then work his magic to extrapolate on my foundation. The teamwork in this effort was inspiring as we listened and referred to each other in every step of the process, and had a crew of killer musicians on deck for when we needed the extra feels on some joints.

We worked really hard on this record and hope it reconnects our listeners to being human in a visceral way. It's accessible, honest, and soulful because I wanted it to speak to anyone who still wants music to relate to. Music to help you through the valleys, to celebrate the peaks, and handle everything in between. It's a journey of the soul that explores ego, insecurity, love, loss, survival, enlightenment and trusting the process. It's truly 'All I Ever Wonder.' "

"All I Ever Wonder" will have its digital release through LRK Records on all platforms on Friday, JUNE 28th, 2024.

Johnny Burgos is a Brooklyn - born singer, songwriter, producer & engineer. His brand of future-soul embodies a raw uncompromising sound revealing beauty from pain, hope from despair, and the will to keep fighting. Especially influenced by his uncle and world-class percussionist, Andre Martinez, Johnny grew a fascination with the percussive rhythms of salsa and soul music, eventually manifesting into a devoted passion for Hip Hop production using an Akai MPC. With influences from Michael Jackson, OutKast, J Dilla, Lauryn Hill and D'Angelo, Johnny's music draws upon the core principles of R&B, while encompassing elements of Hip Hop, Funk, Pop, Salsa and Reggae.

Johnny has collaborated with DJ Skizz, for Mobb Deep & M.O.P., Marco Polo, Frans Mernick, Liza Colby (The Gold Setting) and led his band Bridge City Hustle, with whom he toured nationally.

As a solo artist Johnny debuted with back-to-back brand endorsements from French's Mustard and Samsung US, using them as a platform to launch his 2018 EP 'Love Through it All.' His debut album 'Gone Into The Grey' was released to critical acclaim in March of 2021 and has since been added to multiple editorial playlists by Spotify, Apple Music and Tidal, creating exponential growth. In 2022, Burgos' song 'Wild About You' was heard as the soundtrack to Neiman Marcus' "It's Your Moment" global streaming campaign. Johnny's currently amid promoting his latest album, The Tangent Tape, performing with his band The Butter, recording new collaborations and preparing his upcoming LP with Jeremy Page & LRK Records.

credits

releases June 28, 2024

Emerging Belgian DJ/producer STEYA shares her debut EP on IMF, becoming just the ninth artist to release a full body of work on Marcel Fengler's influential label.
The Berlin-based artist has stamped herself as one to watch since breaking through in 2022, a regular at RSO Berlin and Grelle Forelle in Vienna, she's also played Tomorrowland, Exhale, Rex Club andBasement in NYC.
Her first forays into production reinforced her quality, with 'Neon Reecho' featuring on RAW's Third Eye compilation in 2021, followed by the release of 'Elysian' on BCCO's second V/A as well as the excellent 'Prototype X' on the '10 Years of IMF' that dropped in 2022, followed by a standout contribution to the label's new HARDPROOF V/A series in 2023 with 'Trigger Me'.
Her debut EP crystalises 20 years of devotion to techno, presenting abroad palette of sonic influences formed since her early days as araver in Antwerp. At the same time, it continues the label's philosophy of pairing a next generation artist with one of the greats of the genre, with STEYA's hero Rolando featuring on her 'Dopamine EP' with a remix of the incandescent 'Things You Never Said'. Growing up in Belgium where the 'Knights of the Jaguar' was a staple childhood anthem, it was "one of her biggest wishes to have him as a remixer".
An EP borne through two years of dedicated studio time, 'Dopamine EP' kicks off with the electric title track, a gritty tribal outing marked by dynamic shifts in tempo throughout. 'Fast Life' is a slick bass-led cut with plenty of bottom-end kick before a punchy synth melody get sadded to the brew. Swedish producer Hertz - a favourite of STEYA's ("I've played one of his tracks in every set since the beginning of my career") joins the project to re-work the title track, upping the energy ofthe original. 'Things You Never Said' begins life centred around energetic rolling grooves, before warm synth rushes give it a distinct Motor City vibe. Rolando fittingly steps up for remix duties to close out the EP, delivering a masterclass in deep simmering techno, extending the original by two minutes.
"It's a big honour to release my debut EP on such an amazing label like IMF, which is very close to my heart. I poured my heart and soul into this project. It showcases the artistic direction I've developed overthe last few years and is an important milestone in my artist journey." - STEYA
"After experiencing many of her stunning DJ sets, it's wonderful to seeher thriving also as a producer. What really excites me is witnessing her continuous growth, always fuelled by her deep passion for music. So, I'm thrilled to release STEYA's debut EP on IMF, featuring three original dancefloor anthems and two stellar remixes by Rolando and Hertz." - Marcel Fengler

Formed in Manchester over a decade ago, Hurts are an electronic pop band featuring vocalist Theo Hutchcraft and multi instrumentalist and producer Adam Anderson. Known for their striking and stylish videos, Hurts make epic, dramatic pop music that takes inspiration from a finely curated mix of influences including '70s Krautrock, '80s new wave, and '90s R&B. In August of 2010, Hurts' debut full-length album, Happiness, debuted in the Top 5 on the U.K. albums chart making it the fastest-selling debut album by a band in the U.K. that year. Featuring the singles "Better Than Love," "Wonderful Life," and "Stay," among others. The album was a huge success across Europe and Hurts' profile rose exponentially with the album reaching Platinum status 13 times over and 4 times Gold around the world including over 500,000 album sales in Germany alone. Several accolades followed in 2010, including topping the BBC's Sound of 2010 poll, winning a German BAMBI award, and garnering numerous nominations including an MTV Europe Music Award. The band have since gone on to win numerous awards including Best Band and Best Video at the NME Awards and Best International Newcomer at Germanys ECHO Awards. Hurts followed up in 2013 by releasing their sophomore album, Exile, which again hit the U.K. albums chart Top 10. The album again featured production from Hutchcraft and Anderson, along with Quant and Dan Grech-Marguerat, also featuring Elton John as guest Pianist on album closer “Help". Exile showcased a nuanced, somewhat more contemporary sound that incorporated more orchestral and rock instrumentation, yet retained all of Hurts’ core influences. In 2015, Hurts delivered their third studio album, Surrender, which featured production from Quant as well as Stuart Price (Madonna, the Killers) and Ariel Rechtshaid (HAIM, Vampire Weekend). The album spawned several singles, including "Some Kind of Heaven," "Lights," and “Slow. The epic video for “Lights", directed by Dawn Shadforth gaining the numerous nominations for Video of the Year. Two years later, they returned with the full-length Desire, featuring the singles "Beautiful Ones" and "Ready to Go.” Having sold hundreds of thousands of live show tickets around the world over the past decade, and often a fixture of the global festival circuit headlining stages around the world, the band have built an enviable touring fanbase including becoming one of the most successful British bands in Russia of the past decade.

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

Since the inception of Anxious in 2016, the band has always acted with purpose. This may seem like a simple premise, but for five kids still in high school at the time, it's quite an accomplishment. Early songs were packaged in limited run demo tapes with accompanying zines and hand-dyed t-shirts. Weekends were filled with regional runs of shows outside of their Fairfield, Connecticut homebase. With this amount of effort it's no wonder that within a few years of graduation, Anxious has built a solid foundation for their debut album to flourish upon.On Little Green House, Anxious explores what it feels like to enter adulthood in unflinching detail. The Connecticut band unpacks struggles, joys, and hard-earned realizations in a way that makes them feel wise beyond their years. Anthemic songs like lead single "In April" and guaranteed sing-along "Growing Up Song" thread the often difficult melodic-hardcore needle in a way that feels both nostalgic for the emo renaissance of yesteryear and precisely built for the current moment of genre defiant pioneering.

Following their ground breaking "Wet Dirt" album from 2019, CRIMEAPPLE and DJ Skizz are back to take you on a worldwide flight starting off in Hradec, Czech Republic. The New Jersey rapper and Brooklyn producer step up their game once again on this new offering, with CRIMEAPPLE solidifying yet one more time his position as one of the best lyricist out there, painting perfect pictures all by himself over Skizz's top-tier productions, with an extra soulful and vintage touch added to it. Fasten your seat belts as this one is yet another classic to listen up above the clouds!

Mini-LP-Sampler mit den ersten beiden EPs der US-Emo-Punkband Free Throw, "Self-Titled (Free Throw)" (Tape 2013, 12" 2020) und "Lavender Town" (digital 2013, 7" 2014), die hier zum ersten Mal gemeinsam auf Hardwood coloriertem Vinyl erscheinen. Free Throw haben eine bewegte Tourgeschichte mit Bands wie The Wonder Years, Tiny Moving Parts, Hot Mulligan, Mom Jeans, und anderen.

Repress!


THE KING CASUALS – were originally named The King Kasuals and were founded in 1962 by the late great Jimi Hendrix. Little wonder that in the late Sixties Jimi’s replacemet, Johnny Jones, would lead the band in a raucous, stomping interpretation of the Hendrix classic. It had everything necessary to propel you to the dance floor and it certainly lit the Torch in Stoke-on-Trent, shook the floor at Wigan Casino and wobbled the pier at Cleethorpes. This outrageous powerhouse has grown in stature over the years and sounds every bit as a weird and wonderful as it did over 50 years ago.
GENE CHANDLER – needs no introduction to the UK Northern Soul scene thanks to his numerous floorfillers and UK appearances. As with our flip-side, “Purple Haze”, “There Was A Time” is a definitive ‘soul’ cover-version of an R&B original, in this case by the “Godfather” James Brown. This stomping, adrenalin-fueled dance cover was propelled to classic status in Mr M’s at Wigan Casino and cemented Gene “Big Shot” Chandler’s place in the Northern Soul Hall of Fame.

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Through the folded sky to America

Ten albums in three years. That's still the cosmic mission of the Berlin post-kraut trio YELKA with Daniel Meteo, Christian Obermaier, and the namesake Yelka Wehmeier.

With the album "For," there was a Label change. After releasing three albums in 2023 with Maurice Summen, head of Fun In The Church they passed the label responsibilities to Karaoke Kalk. Karaoke Kalk is a friendly label founded in Cologne known for establishing the Berlin post-wende scene (fall of the wall scene).

The trio's fourth album was also created with Arne Berger at Popschutz Studio, and the team is definitely well-rehearsed. Instead of recording the planned tracks, the band decided to improvise the session, and all tracks, except for the krauty Doors cover "The Crystal Ship," were created in 5 days in the studio, mostly on the first or second take, but with significantly more overdubs - keyboards, backing vocals, second and third guitars, percussion, and piano. The sound of "For" has become warmer, and the album begins with a kind of 60s-Kinks feeling. Overall, the current record has become much more exuberant - like Alice in Wonderland, YELKA seem to want to restore innocence to things in the opener "Smile (Into Skies)," resulting in an uplifting hiking song for experimental outdoor bohemians.

The follow-up piece "The Boar" speaks to everyone from the north, south, west, and east and here YELKA encounter a horde of wild boars on their travels, before the vocals become hardly understandable and ghostly spooled in reverse, suddenly sounding like Damo Suzuki from CAN at the height of Tago-Mago times.

Finally, YELKA‘s "Crystal Ship," simply sails away with the wild boars into remote 4D worlds between the Cocteau Twins and X-Mal Deutschland.

In the first instrumental of the album "Is this enough?", the band reverse tracks like Jimi Hendrix in his Electric Ladyland, and we dive deeper and deeper into the endless sky until YELKA finally arrive on newly trodden sound paths with "MM" to their beginnings on their debut album "Nowhere Jive." At the popular intersection of post-rock and jazz, where guest singer Bela Hagel also likes to linger for a moment: "Sie wissen" (They know), he knows that too! Surely Rolf-Ulrich Kaiser would have had a lot of fun with his shamanistic singing on his "Kosmische Kuriere" label. The guitars sound like a desert, and the reverb reminds us of the expansive space in the opening track "Skies."

Finally, we land in Amerika, or rather, YELKA ponder the melancholic question of whether anyone still wants to travel to America with them, to the land of unlimited possibilities, the haven for artist souls all over the world. "Do you wanna dance?" Yelka Wehmeier finally asks, while a chorus in the best Sun Ra manner mantra-like repeats "Cold dogs, cool cats." The whole band sings. Everything sounds good.

The earliest recordings of Neil Young with Crazy Horse are surrounded by a very special aura. The material is so historic - 55 years! - that the most loyal fans, whose shelves are filled with just about every release by the musician and his formative band, can hardly contain their excitement when new releases from this period are announced. Now the time has come again: EARLY DAZE will be released on June 28 and the excitement among fans is already palpable.

The album will be released on June 28th on black vinyl, CD and digital. A limited edition clear vinyl with exclusive poster will be available at indie retailers. EARLY DAZE is a collection of 10 songs, each one a unique original that became an instant classic and remains so to this day. The recordings on this album have never been heard before and sound as new as when they were made. The EARLY DAZE are back.

The earliest recordings of Neil Young with Crazy Horse are surrounded by a very special aura. The material is so historic - 55 years! - that the most loyal fans, whose shelves are filled with just about every release by the musician and his formative band, can hardly contain their excitement when new releases from this period are announced. Now the time has come again: EARLY DAZE will be released on June 28 and the excitement among fans is already palpable.

The album will be released on June 28th on black vinyl, CD and digital. A limited edition clear vinyl with exclusive poster will be available at indie retailers. EARLY DAZE is a collection of 10 songs, each one a unique original that became an instant classic and remains so to this day. The recordings on this album have never been heard before and sound as new as when they were made. The EARLY DAZE are back.

2024 repress.

Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfectsoundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.

* CASSETTE VERSION **
Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfect soundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.

On the eve of Drop Nineteens' first live performances in 30 years, we are excited to announce the reissue of the band's 1992 shoegaze masterpiece, Delaware. "Reissue" is slightly misleading as Delaware has never actually been issued on vinyl in the United States. Delaware is the debut studio album by American band Drop Nineteens released on June 19, 1992. Despite the albums release over 30 years ago, and the band remaining inactive from 1993 onwards this album has remained a favorite of shoegaze fans for decades, and was listed as one of the 50 best shoegaze albums of all time by Pitchfork in 2016. This lasting love of the record has cemented the band as one of the most influential bands of the genre from their time. Over the last several years the album has found a new audience that has championed Delaware along side of the band's mostly UK 90's contemporaries. A new legion of Drop Nineteens fans have likely discovered their music through streaming services, rather than on 120 Minutes. Tracks like the towering "Kick The Tragedy" and pop songs "Winona" & "Delaware" sit next to more experimental moments like "Reberrymemberer." And while the album is certainly a wild ride, it all flows together as easily as singers' Greg Ackell and Paula Kelley's vocals. Now for the first time, this record will be available via a USA pressing on yellow colored vinyl. Remastered for vinyl by Carl Saff the album will be available on June 21st.

2024 Very Limited Repress

Down Low Music returns with a catalog number reserved for over 20 years, dL-006. Circa 2002, after releasing music from artists such as Stinkworx, Plastic Sleeves, Convextion and Macho Cat Garage, the dL catalog skipped from dL-005 to dL-007. dL-006 was reserved for DFD aka Troy Anderson, a core part of the dL crew from Texas. Troy had previously released excellent records as Cityboy and Waverider (both recently re-issued on We're Going Back), and as DFD on the first Down Low Music compilation, 'Satellite Cities' in 2001.

But a full EP was never finalized, until now... Over time, multiple projects were lost in the void and time passed until Troy recently sent out some new works from his lab. Down Low loved the new tracks and decided this was the time to complete the missing piece. It's a wonderful glitch in time, four new DFD productions that fit easily in the early 00's sound of the label back then, while also a magnificent piece of machine music from the future. Proper electro with a touch of human feels which is something that seems to be essential for a classic Down Low Music release.

repressed !

Kavinsky’s ‘Odd look’ is one of those songs which will haunt you for a long time after hearing them, one of Kavinsky’s acclaimed ‘Outrun’ highlights for sure.

The deep, raw and soulful instrumental brings a cinematic sound which has the power to litterally put you in a virtual movie just listening to music ! And SebastiAn’s vocal part on top is a unique rendering, somewhere between Stevie Wonder and HAL.



The Weeknd was invited to sing on the song by Kavinsky himself. As a big fan of his singing skills, the zombie wanted him to give his song the real soul touch that he’d had in mind for ages. His performance reminds of Michael Jackson, a fast and swinging vocal line, extremely addictive !



A-Trak who has been Kavinsky’s pal for years now delivers a banging remix with bass & drums and a beautiful & strange vocal hook. The kind of tune that can be played in a NYC hip hop party, as well as in a techno warehouse in Berlin with the same effect : arms up ! A-Track rules it as always.



Midnight Juggernauts have taken the spacey-progressive path for their approach towards ‘Odd Look’. Trancey sounds built around those Scarface-like choirs surround you and bring you back to the early 9O’s chill out era, It’s emotional music, as on their recently released ‘Uncanny Valley’ album.



Prince 85 is the newcomer of this selection of X-tra strong producers. His new-hip hop sound fits Kavinsky’s moods perfectly, adding a brilliant re-cut work and some exquisite additional keyboards. Real drinving music, that’s the deal.



Surkin has the recipe for producing absolute club anthems, his re-do of Kavinsky’s tune is one more proof of his skills. Sirens, brilliantly produced vocal excerpts and his signature synth sounds alltogether create a happy and hysteric mood that one could imagine create club riots !

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

"On “We Are Where We Are,” a glimmering mid-tempo highlight from Annabel’s new album, Ben Hendricks sings of “a modern way to fill the empty space.” Worldviews, the band’s fourth LP and first in nine years finds the band reconciling with the ways the world has changed in the decade since they’ve been away. His protagonists are trying to determine the boundaries between what’s real and imagined, navigating their worldviews and the dominant ones around them, fighting for an escape or at least a distraction, wondering where the time goes, “going through the motions, running in a circle.” That could’ve been Annabel’s fate, too. But the core of the Ohio band is brothers Ben and Andy Hendricks, and as long as they’ve got each other, we’ve still got Annabel. In a world that feels so uncertain and so disconnected, where else is there to turn but back to Annabel? Think of Worldviews less like a comeback and more as the product of years spent gestating.

Hendricks spends the chorus of “All Time” promising to “make up for all the lost time,” and Annabel makes good on that promise for the next half hour. Worldviews is the most locked in the band has ever sounded, perfecting and building on their indie-emo sound. The title track and “Dog” are classic Annabel, sprightly and jangly midwestern rock songs, while “Defense Mechanism” is a rougher-edged update; when they go in the opposite direction, it results in some of their best work: “Every Home Needs a Ghost” is spartan and spectral, worthy of its title, and the beautiful “Small Victories” dabbles in downtempo electronics. They don’t sound like a band returning after nearly a decade; they sound at the same time hungry and lively like scrappy upstarts and wizened and seasoned like they never left."

The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).French Popular Music, ndlt

Compiling extracts from concerts given between 1976 and 1978, L’Inter Communal demonstrate the “social function” which inhabited free jazz and popular music at the time calling upon Spanish singer Carlos Andreu along with Michel Marre, Jo Maka, Adolf Winkler and Jean Méreu. Andreu, claimed Tusques, was a griot “who created of new genre of popular song improvised with our music, based on events going on at the time”.

L’Inter Communal can start the festivities: on “Blues pour Miguel Enriquez”, it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: “L’heure est à la lutte” (the time to fight is here ndlt), is the new song offered by the l’Intercommunal Free Dance Music Orchestra... As if proof were needed that their music is still more than timely!

Waxwork Records is thrilled to release THE EXORCIST III Original Motion Picture Score by Barry DeVorzon. THE EXORCIST III is a 1990 American supernatural horror film written and directed by William Peter Blatty based on his 1983 novel Legion. The film is set fifteen years after the events of The Exorcist (1973) and follows a character from the original film, Lieutenant William F. Kinderman who investigates a series of demonic murders in Georgetown that have the hallmarks fo the Gemini, a deceased serial killer.

THE EXORCIST III features a dark ambient score by Barry DeVorzon (The Warriors, Night of the Creeps). It was the last film score he ever created and features synth drones, sampled chanting, synthesized voices and real voices, and experimental sound design. Of the score, DeVorzon provided exclusively to Waxwork for this album's liner notes: "I was exploring a lot of synthesized sounds and textures and trying to do something that would make the scenes more chilling. Anything that was different, eerie, and had nothing to do with an orchestra. This was new territory for me - it wasn't orchestral, it wasn't rhythm oriented. It was just a really different animal."

Waxwork Records is proud to present THE EXORCIST Original Motion Picture Score for the first time in any format. Sourced from the original masters and then mixed, mastered, and constructed into a cohesive double LP soundtrack experience. The album features 150 gram purple smoke colored vinyl, exclusive liner notes by composer Barry DeVorzon, heavyweight gatefold packaging with matte satin coating, a 12"x12" four page booklet, and new artwork by Suspiria Vilchez."

Tim Burton’s 2005 adaptation of Roald Dahl’s classic children’s book was conceived as long ago as 1991 and was in development for several years before Burton was involved in the production. He immediately brought regular collaborators Johnny Depp and Danny Elfman aboard.

Charlie and the Chocolate Factory represents the first time since The Nightmare Before Christmas that Elfman contributed to a film score using written songs and his vocals. The film was released to critical praise and was a box office success, grossing $475 million worldwide.
The wonderfully quirky melodic score and songs from one of Hollywood’s great composers harks back to Edward Scissorhands, Burtons’ and Elfman’s most personal work, and is a return to the composer’s “vintage” sound from the late 1980s and early 1990s.
First released on vinyl in 2015, this latest edition brings the popular soundtrack back to vinyl on Marshmallow Pink and Chocolate Brown Vinyl.

“It was more fun than I ever had working on a movie. It was so crazy and doing all the vocals was so much fun. I found myself falling into voices, singing vocal mannerisms. I was having such a gas.”
- Danny Elfman

Rockpile was a short-lived yet highly influential quartet, composed of Nick Lowe, Dave Edmunds, Billy Bremner and Terry Williams. Though Rockpile played together throughout the 1970s, the original 1980 release of Seconds of Pleasure was the only time the band was able to capture their magic on tape. Meshing the sounds of pub rock, power pop and rockabilly all through a blossoming new wave lens, Rockpile were renowned for their blistering live performances, which were brought to national attention on tours supporting Blondie, Bad Company, Van Morrison and Elvis Costello. Seconds of Pleasure has stood the test of time and cemented Rockpile as a one-album-wonder, but what a wonder it is! Featuring classics like Lowe’s pop-perfect “When I Write the Book” and “Play That Fast Thing (One More Time)” and Rockpile’s sole Billboard hit “Teacher Teacher,” Seconds of Pleasure remains a classic that should be found on the turntable of every music collector. Yep Roc is proud to announce a long overdue vinyl reissue of Seconds of Pleasure, pressed on yellow color vinyl and limited to 1,000 copies worldwide. The reissue was pressed at the state-of-the-art facilities of Citizen Vinyl in Asheville, North Carolina and the lacquer was cut by renowned mastering engineer Kevin Gray at Cohearent Audio. Over four decades later, Seconds of Pleasure has brought years of enjoyment and now has never sounded better!

About 10 years ago I tried to contact Dutch artist and scientist Felix Hess, when he was still alive, but never got a reply. Years later, in 2022, I was talking to Frans de Waard, who told me he was administering the sound archive of the late Hess together with Mark Poysden. Together we started working on an album to celebrate his life and many accomplishments. It includes selections from all the highly collectible Frogs releases from the 80's and 90's, while the artwork is sourced from his Zenga collection, unifying his two greatest passions.

While in Australia conducting research for his PhD thesis on the aerodynamics and motion of returning boomerangs in 1975, Felix Hess heard frog choruses for the first time. The hills, close to Adelaide, generating amazing natural rhythms and waves of spatial sounds. He started traveling to the outback to record similar frog choruses, camping in quit places to enjoy these wonderful nightly concerts.

Mystified by how the waves and rhythms of frog choruses could emerge without a conductor or a score and by the physics of this method of communication, he started to research the phenomenon in 1982 by designing and building small electronic sound creatures that could respond to each other in a similar way. These creatures and his various other installations earned him international acclaim.

During the 1990s, Hess was invited to Japan many times to present his work and he became interested in Zen Buddhism. One summer evening in 2001 he visited a museum in Berlin and saw actual Zen art for the first time. Overwhelmed by the extraordinary power radiating from this and similar artworks he became addicted to Zenga and gradually built up one of the world's most representative collections of hanging Zen scrolls. A collection he named Kaeru-An (Frog Hut) to honor his original teachers, the frogs

Akio Niitsu's first album, "I/O(i?o)" released in 1978, was produced in a homemade studio that had been converted from a storeroom in his home, and he spent three years doing everything from composition to engineering by himself, using overdubbed guitar recordings. 's first analog re-release has been decided.

As a guitar multi-recording album, the idea was realized six years earlier than the album "E2-E4" released in 1984 by Manuel Göttsching, the central figure of "Ash La Tempel", but it was too early. A hidden experimental/ambient gem!

The paradoxical sound that makes you feel as if you are lost deep in a labyrinthine forest, combined with Tadanori Yokoo's artwork, is a piece that allows you to enjoy Akio Niitsu's worldview with your ears and eyes.

Waterloo To Anywhere is the debut album from the short-lived, briefly adored Dirty Pretty Things - Originally released on Vertigo Records in May 2006, the album reached No 3 in the UK charts and spawned three Top 40 singles - This re-issue is pressed on high-quality 180g black vinyl. What do you do after being in the Libertines, one of the most notorious British bands of the early 21st Century? For Carl Bart, you form Dirty Pretty Things, something of an indie supergroup of their moment. Joining Bart was Libertines drummer Gary Powell, guitarist Anthony Rossomando, who'd stood in for Doherty, and former Cooper Temple Clause bassist, Didz Hammond. Leading Waterloo To Anywhere was the infectious UK Top 5 hit Bang Bang You're Dead, which set the tone for the fabulous collection of rock, punk and ska. Recorded in Los Angeles with producer Dave Sardy and then later in Glasgow with Tony Doogan, the album showed the strength of the group's writing. Away from the standard high-octane indie of Gin & Milk and You F*cking Love It, The Gentry Cove was particularly captivating, marrying Bart's fascinating wordplay with robust Clash reggae/sea shanty interludes. Two years later, it was all over; Bart and Powell rejoined the Libertines (and Rossomando later going on to win an Oscar for co-writing Shallow from the film A Star Is Born).

First forging his DJ craft at underground parties and afters in Southern Brazil, Cauê's deep passion and devotion now resides in all his artistic output. He has built a solid discography spanning the likes of reputable imprints such as Affin, KVLTÖ, Circular Limited and most recently with his own project Ogan Records. In recent years, his active membership of London's budding deep techno scene has helped Cauê to garner his reputation as a highly consistent and prolific producer.

We're delighted to honour Cauê's love of the physical medium with a limited run of vinyl, pressed on 140g black vinyl in Italy and presented in a beautiful matte sleeve. Those who have followed Cauê's work will have observed the thematic constants of mysticism and theology that are woven throughout. Revelations is a brooding work of atmospheric techno. Reprobation opens the A Side with a deep sense of foreboding - a warning perhaps - before three cuts of raw and tunnelling techno that are both delicately introspective and wickedly hypnotic. Rapture is the audial equivalent of sunbeams breaking through the very blackest of storms, a beautifully melancholic piece that can only exist where darkness came before. World To Come closes the B Side with the eschatological sentiment of the wonders that await in the new age.

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

“There goes my TARDIS!” Demon Records celebrates David Tennant and Catherine Tate’s partnership as the Doctor and Donna with two audio-exclusive stories, read by the actors themselves. In Pest Control, read by David Tennant, the Doctor and Donna face monstrous insects and a ruthless robot exterminator when the TARDIS is lost in battle on a distant planet. The Doctor sets off in pursuit of his craft, while Donna finds herself accepting a commission in the Pioneer Corps. Something is transforming soldiers into monstrous beetles - and she could be the next victim. In The Forever Trap, read by Catherine Tate, the duo find themselves imprisoned in a complex of luxury apartments in space, and neighbours to a terrifying assortment of aliens. Deadly mobs wage battle in the corridors and on the stairwells, and the travellers must cross their paths as they search for the ultimate authority. Who, or what, lies at the heart of the Edifice? This stunning box set, with an illustrated lift-off lid, features 6 x 140g vinyl LPs - three in Transparent Red and three in Transparent Yellow - each housed in a unique inner sleeve. A four page booklet features sleeve notes by authors Peter Anghelides and Dan Abnett, who reflect on the process of writing for the Tenth Doctor and Donna, and how they regard the stories 17 years later. Now for the first time on vinyl, accompanied by original sound design and Murray Gold’s Series 4 arrangement of the familiar theme music, these two high-octane adventures are a reminder of the excitement, humour and magical wonder of Doctor Who

Strawberry Wind, produced by Richard Swift (Nathaniel Rateliff and The Night Sweats, Foxygen, The Shins) not only delivers on a promise to create an honest album for kids and parents but it represents what Baylin calls the “beautiful divide,” of juggling family life with her creative life, a difficult task by any measure. “The divide in me is easy to feel because I invest 100% of myself into my family and often the creative gets put to the side,” she explained, “so when I decided to begin writing for this album it just poured out of me.” Now singer / songwriter Jessie Baylin shares that creative outpouring on her debut children’s album, ‘Strawberry Wind’. Throughout the album, Baylin doesn’t hold back on telling it like it is. Weaving through lyrical themes of dream life, supermoons and summertime vibes are some gentle doses of reality. “I don’t want to lie to my kids. Life is hard sometimes and you need to find a way to deal with it... there will always be things in life you can’t control. But, you can dream of a better world and make your own refuge,” says Baylin, who is mom to 4-year-old Violet and is expecting her second child with her husband. Baylin, who’s released four critically-acclaimed albums over the years, says the seed was planted for this album after recording a cover of Harry Nilsson’s He Needs Me from the kids’ film Popeye. “The song has a childlike sense, but the message is very deep. It’s magical, it’s dark, and it hit all the right notes. I wanted to do an album that feels like that” she says. “Since becoming a mother, I found myself being around the house a lot and I started gravitating to these wonderful albums I remembered from my own childhood - The Beatles, Harry Nilsson’s The Point!, John Lennon, Roger Miller’s Robin Hood and Carole King’s Really Rosie." The magic of those iconic 1970s records she mentions is that they’re all grounded in solid songwriting and were never dumbed down for the audience. “Those records felt very honest and that was my mission here. I also wanted it to feel magical and remind people of the child inside of all of us that is filled with a sense of wonder and pure joy and hope.”

2024 reissue of Thomas Bückers debut album as Bersarin Quartett, originally released in 2008 on Lidar.

With some albums, you realize within a few seconds that here you have come across something really special. It is music that touches you straight away. Music that is important, that has a story to tell – and that manages to do so without even a single line of lyrics.

Wonderful orchestral pieces full of longing and melancholy. It is that certain kind of melancholy that seizes you when you are moved while following the final credits of an emotionally touching movie, remembering special moments that have faded in the course of many years and linger hazily in your memory, when you are somewhat wistfully contemplating old, worn photographs from days passed by … not a feeling of failure or hopelessness, but a bittersweet reflection.

Orchestral cinemascope sounds provide the emotionally moving fundament, wrap the tracks up in a warm coating. Graceful strings pile up, creating big moments and repeatedly ending inmelodies that are simply heart-rending, cinematic and tragic. But the Bersarin Quartett does not merely rely on these ingredients. The songs are also repeatedly interspersed with suspenseful and surprising elements, be it frail electronica, hypnotic soundscapes, drums or reverbed guitars. Rarely has amelange sounded as convincing and natural as this, and rarely has it sounded so well produced.

Thomas himself calls his music “imaginary fictional filmscores“. And it is hardly possible to come up with a more apt term. 10 tracks for 10 movies that have yet to be shot. Music that radiates such an enormous and authentic passion in every single minute, that one can’t help but completely abandon oneself to it. And honestly: Can there be anything more wonderful that can be achieved through music?

Deluxe 180g vinyl. Art Edition LP includes set of six 12”x12” art cards.



The follow-up to Kee Avil's acclaimed 2022 debut Crease: "A stunning debut" (The Quietus); "A whiplash style of uninhibited exploration" (The Wire); "Kee Avil's debut is a force" (Foxy Digitalis); "A work of Frankensteinian wonder" (Electronic Sound); "A tightly coiled, finely wrought vision of avant-pop" (Exclaim); "A debut of fiendish creativity" (Bandcamp Album Of The Day / Albums Of The Year) Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk… and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements - guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months - a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. - jj skolnik

This One Is For The Party is the final studio album by The Trammps, originally released in 1984. The Trammps, hailing from Philadelphia, were a prominent fixture in the disco scene of the 1970s. Consisting of Earl Young, Harold Wade, Jimmy Ellis, Robert Upchurch, and Stanley Wade, they were known for their infectious grooves and energetic live performances.

The Trammps earned their place in music history with hits like “Disco Inferno” and “Hold Back the Night”, but also “Shout” and “Move” became disco classics. 40 years after its original release, the tracks of This One Is For The Party continue to fill dance floors at parties and their influence can be heard in modern dance and pop music. The album also features a guest performance by the Dutch female group Mai Tai on “I Don’t Know (One For The Party)”.

Nathaniel Russell is a multi-disciplinary artist from Indiana who creates drawings, paintings, prints, murals, objects, videos, and music, often with friends and fellow artists. And in 2023, he packed up his car and drove from his home in Indiana all the way to North Carolina to record new music with his long-time friend Amelia Meath (Sylvan Esso, The A's) at Betty's, the wooded studio haven of Sylvan Esso, where recent releases from The Tallest Man on Earth, Caroline Rose, Wednesday, The A's, The Mountain Goats, Flock of Dimes, Indigo de Souza, and many more have been born. This record began with a funny and sad idea Russell had about a funeral. "I imagined a picture of a funeral with a merch table. It was an idea full of darkness and sweetness to me. Immediately I thought about what my merchandise would look like, what it would be. I began to think about what the record for sale at my funeral would sound like. I started to think about the songs I have made up and sung to and with my friends, family, and myself over the years. I noticed how the songs I had sung the longest seemed connected to others from a different time. I had changed some words and how I played them but they were all of me and my time on earth. I heard how these things fit together. Of course I now needed to see this project become a reality." Songs Of was produced by Meath, engineered by Alli Rogers, and features additional performances from Joe Westerlund (Megafaun, Califone) and Nick Sanborn (Sylvan Esso, Made of Oak).

Nearly twenty-five years after disbanding, Gastr del Sol have unpacked their archive, stringing together an alternative view to their genre-melting 1993-1998 run.
This assembly of previously uncollected studio recordings and beautifully captured unreleased live performances forms a spacious ode to the flux that was their métier;
a further set of reinventions that continue to alter the manner in which we hear music, and literally everything else!

2024 Repress

Ned Doheny's Hard Candy, originally released in 1976, is widely considered the finest blue-eyed soul album of all time. It is has long been a source of great frustration then, that this perfectly-formed Southern California masterpiece has been unavailable on vinyl for almost 40 years. Previously bootlegged in derisory fashion, original copies are rarely found for less than $100.

Be With Records, a new vinyl-only reissue label, continues apace by marking its third release with the first officially licensed reissue of Doheny's nautical classic. Perhaps most famously, this impeccably smooth set features the timeless Get It Up For Love, a wonderful example of mid-70s mid-tempo white-(hot)-funk.

Produced by the legendary Steve Cropper, it featured a veritable who's-who of the Laurel Canyon soft-yacht sound (JD Souther, The Eagles, Linda Ronstadt, the entire horn section for Tower of Power!) yet bombed mysteriously. It's been a cult record since.

Pressed on audiophile 180gram vinyl and featuring the original artwork for both jacket and full colour inner sleeve, this very limited reissue of 500 copies is one not to be missed.

Following on from his previous two KPM-esque library music releases for the label (Plastic Thought & Wyped Out) Debossed sees Howe ramping up his sound into more rhythmically expansive weirdo club-music territory, taking in everything from footwork, drum & bass, electro, juke and breakcore. The Japanese jazz inspired melodic phrasing is as present as ever, which is paired with affectionate nods to Dreamcast gaming & skate video soundtracks, making for a very fun, fresh and generous listen.

“A master of tricksy computer music.” - The Wire

“The return of Glasweigian, Joe Howe: a prolific noise maker who you may have otherwise known as Ben Butler & Mousepad & Germlin. He’s been doing wonderful things for many years and there’s a whole world of Joe Howe if you want to get involved!”. - Tom Ravenscroft (BBC 6 Music)

Introducing the next release in Names You Can Trust's long-running collaboration with the prolific and symbiotic musical universe of Bogotá, Colombia. Mau Gatiyo y Los Años Maravillosos formed in 2021, arising from the very same fertile ground of the Teusaquillo neighborhood that has spawned many records and musical mischievousness. At the heart of this experimental movement is what can only be described asTropicanibalismo, where a deep hunger for the roots of Colombian tropical music are only satiated by dissecting it, consuming it and ultimately creating something new again as some kind of untraditional, unholy, and yet referential form of musical sustenance.

Within this concept, there's a clear lineage of inspired and visionary artists that have been featured throughout NYCT's record catalog for the last 15 years that includes luminaries Frente Cumbiero, Meridian Brothers, and Romperayo. Each of these artists' tentacles have touched several parallel projects from their talented neighbors and friends, and whether through production, playing, engineering, or mixing, these collaborations have heavily contributed to a very fruitful and colorful scene that could only exist within Colombia's capital, while also gaining notoriety in the nooks and crannies of northern latitudes like New York, Chicago, and Los Angeles.

Mau Gatiyo, a talented accordian player and vocalist, together with his group (translated as The Wonder Years), is precisely one of these projects, a collective that has found their calling in the echoes of thevallenatosandcumbiasthat once populated the nation's airwaves throughout the 20th century. It's a traditional format that has always lent itself to storytelling, whether it be anecdotes about daily life, or using one's voice to raise uncomfortable questions in protest against the system. This is where Mau Gatiyo's poetic, almostnew wavetimbre finds a lane of its own, straddling a 2020s societal landscape under the guise of ostensibly old-time accordion music.

The debut 7-inch from the group, an excerpt from their recently released album Baño Unisex, was recorded at Mambo Negro studios by Ivan Medellin (La Sonora Mazurén) and mixed by Eblis Alvarez of Meridian Brothers, both familiar names and contributors to the NYCT catalog. Alvarez himself, who has emerged in recent years as an international beacon of this new tropical avant-garde, is no stranger to flipping traditional styles on their head, or at least respectfully off-kilter. Mau Gatiyo y sus Años Maravillosos proves to be another great vessel for this veryBogotano expression, draping the classical playing of its group members in a modern day cosmopolitan expression of righteousness, both outwardly in their dashing, performative fashion sense, and lyrically with their cheeky "420, Reloj"ganja-tune promotion – or even their outward dissenter objections to paramilitary and firearm power in "Poder Militar."

Ultimately, these songs lie at the crossroads where two cultural eras connect and become something unique, a protestation one with performance, dance, and artistic expression. This cathartic ritual of protest has a storied history in music, and these two new entries into the NYCT catalog will hopefully find their place amongst a modern day canon, or at the very least, have your feet moving and your head nodding in just approval.