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These are four historic performances from the Fillmore East and West in 1970, at a time when Miles Davis was single-handedly bringing Jazz into the commercial Rock era. In their unedited form, all selections are previously unissued. The searing white heat of these concerts, originally issued in severely edited form, are now made whole. This set includes several bonus tracks like Wayne Shorter's “Paraphernalia” and “Footprints”, an early version of “Miles Runs The Voodoo Down” plus a rare encore performance of Bitches Brew’s “Spanish Key”.

The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West and with fellow Columbia artist Laura Nyro in June 1970. The latter recordings are the earliest documented live performances of Miles’s band when he hired two keyboardists--Chick Corea and Keith Jarrett, along with saxophonist Steve Grossman who had replaced Wayne Shorter. The rest of the rhythm section--keyboardist Corea, bassist Dave Holland, drummer Jack DeJohnette and percussionist Airto Moreira--were in the backbone of this band throughout this explosive period.

Curated by Carlos Santana, this set features fascinating firsthand accounts and profound insight into a seismic shift in American society, music, and culture. In a rare, in-depth interview, Miles--while listening to the concert playback--was “so excited about the music that he wanted every set, every note made available to the public...”

Miles At The Fillmore - The Bootleg Series Vol. 3 features four historic perfor- mances from the Fillmore East and West in 1970, at a time when Miles Davis was single-handedly bringing jazz into the commercial rock era.

The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West and with fellow Columbia artist Laura Nyro in June 1970. The latter recordings are the earliest documented live performances of Miles’s band when he hired the keyboardists Chick Corea and Keith Jarrett, along with saxophonist Steve Grossman who had replaced Wayne Shorter. The rest of the rhythm section - bassist Dave Holland, drummer Jack De- Johnette and percussionist Airto Moreira - were the backbone of his band throughout this explosive period.

Curated by Carlos Santana, this set features fascinating firsthand accounts and profound insight into a seismic shift in American society, music, and culture. In a rare, in-depth interview, Miles was “so excited about the music that he wanted every set, every note made available to the public...” The searing heat of these concerts, originally issued in severely edited form, are now made whole. This set includes several bonus tracks like Wayne Shorter’s “Paraphernalia” and “Footprints”, an early version of “Miles Runs The Voodoo Down” plus a rare encore performance of “Spanish Key” from the Bitches Brew album.

The Bootleg Series Vol. 3: Miles At The Fillmore is available as a deluxe 6-LP boxset, housed in a lift-off box. This 6LP-set includes printed inner sleeves and a 12-page booklet with extensive liner notes and rare photos.

The 8-LP box set Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 features of live performances by Miles’ stellar band lineups from 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in New-
port, Rhode Island, New York City, Berlin, and Switzerland. From Miles’ debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan), to his final public performance of the ‘70s in 1975, the box set traces the ascen- dance of Miles’ music as the jazz superstar he has become known to be.

The full-length concert performances alone of Miles’ famed “Kind Of Blue” Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in ‘66 and ‘67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 is available as a deluxe 8LP box set, housed in a lift-off box. The set includes print- ed innersleeves, a mini poster of Miles, and a 12-page booklet with extensive liner notes and rare photos.

With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.

Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.

"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."

The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.

At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.

"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."

With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.

Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.

"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."

The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.

At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.

"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."

Previously Unreleased Recording. Limited to 1200 copies on transparent cherry vinyl. Tip-on jacket, Download code. Insert featuring LP sized original art by Grungie O'Muck. Includes the original recording of Richard Tucker's "Are You Leaving For The Country", later covered by Karen Dalton, and the only song co-written by Karen & Richard, "Sleeping In The Garden". "Richard, Cam & Bert seem to have grasped The Great Harmony. That is, ensemble singing that is at once sweet, precise, funky and a bit sardonic..." -Mike Jahn / New York Times (1970) "For a few years in the late sixties and early seventies Richard Cam & Bert ruled MacDougal St. walking a fine line between the increasingly commercialized demands created by groups like Crosby Stills and Nash and the fierce integrity of earlier folk performers, the generation to which Richard belonged. They managed this with great aplomb, producing original tunes of great integrity and obvious folkloric origins, as well as those which expressed the anarchic omnipresent psychedelia of the moment. They also never abandoned the idea of including some traditional material in their performances. But for the usual random application of luck they could have been very big." - Grungie O'Muck / Artist, Bluesman, Cover artist for their first album and contributor to this one. Richard Tucker, Campbell Bruce, and Bert Lee coalesced as a trio in the spring of 1968, and by the end of that year had become regular performers at fabled Greenwich Village nightspots - The Gaslight, The Bag I'm In, Cafe Feenjon, among others. But mostly they were street singers, busking regularly in Central Park. Their only LP, Limited Edition, was released in 1970, and sold mainly at gigs and on the street. Somewhere in The Stars compiles earlier, previously unreleased recordings, when all three members were signed with Peer-Southern Music publishers as writers and began using their studio to make demos and experiment musically. Beautifully recorded by house engineer Charlie Mack (supervised by Jimmy Ienner), the demos capture a back room casualness and rustic, homespun quality. For me, listening to their songs and harmonies is like entering a world you always hoped existed but had never experienced. Some of the songs were re-recorded the following year for Limited Edition, but many are heard here for the first time. Among them is the original demo for Richard Tucker's song, "Are You Leaving For The Country", which Karen Dalton covered on her seminal 1971 release, In My Own Time. Richard and Karen were husband and wife for much of the 1960s, performing as a duo (initially as a trio with Tim Hardin), and navigating their time on the Village scene while alternating living in a small mining town outside Boulder, Co. before splitting up in 1967. Also making its debut, is the only song Richard and Karen ever wrote together, the haunting "Sleeping In The Garden". Also contains two epic songs by Cam "One Of These First Nights", and "Stockholm") not on their LP, but staples of their live performances, and noted in a gig review by The New York Times, and in a column by future A&R hero, Karin Berg, who was an early champion. Another rarity is the only cover of "Sweet Mama" by Fred Neil we've ever heard. Campell Bruce came to New York in 1967 as lead singer with a band from Washington, DC, The Natty Bumpo. They'd recently signed a record deal with Phillips, but were falling apart. Cam landed in the Village with an acoustic guitar and first started playing and singing in the basket houses, and shortly thereafter at The Gaslight, as the "Cam Bruce Trio" (which included Collin Walcott). After opening for Mose Allison, Cam's hero, the trio went their separate ways, and Cam returned to regular solo gigs at The Flamenco, and the basket houses on Bleecker. Richard and Cam met up on that scene and quickly found a musical kinship as well as becoming best pals. Bert Lee arrived in New York as a runaway the following winter, and began playing and sleeping wherever he could. His sometime accompanist, Ron Price, introduced Bert to Richard and Cam just as Bert's own songs were garnering attention from publishers. According to Bert, "I arrived on the New York scene during a time of great change, and it was the notion of change that influenced me. All around me I saw there were two sorts of songwriters, on the one hand dedicated to the traditions that had inspired them, folk, jazz, the American songbook. On the other hand were songwriters influenced by the wave of experimentation that The Beatles were the perfect example of. Mixing genres, writing lyrics that weren't just about ordinary love and loss. Richard Tucker was a country blues player, with a relaxed and melodic approach to the craft. Cam wrote something more akin to soul songs, with a hint of jazz in the changes. I was writing tunes that sometimes drew on classical structures with a tendency toward what I suppose would be known as prog-rock. But I was rather adamant about not being pinned down stylistically, and so I would write, for example, a song based on some complex classical chord structure, and then go right ahead and write a simple folk song, like Evelyn. Our band was popular locally, and it was this variety that made it distinct." Delmore is excited to present this unearthed treasure, fifteen years in the making. In the words of Richard Tucker, "Tap on your knee, roll on the floor; if you aint free, what's it all for?" "The trio's singing, playing, and writing have all withstood the test of time. Believe me, because I was there. In 1969 R,C&B, myself, Charles John Quarto, David Bromberg, Ron Price, and Keith Sykes were just a few of that year's crop of song-slingers. We were young turks back then, out on the prowl in New York's Greenwich Village for record deals, gigs, and beautiful young women to sleep with and maybe even write a song about. I've lost the names and numbers of those lovelies and I'm not sure what happened to Ron Price, but Richard, Cam, and Bert are back! - Loudon Wainwright lll

‘The Oakland band’s wide-ranging debut is a whirlwind of biting critique, nervy post-punk guitars, and absurdist humor. Rarely does a first record speak with such a trenchant voice.’ 7.5 PITCHFORK
‘Post-punk lovers have a new act to follow" - PASTE
Fake Fruit’s visceral indie rock operates so firmly in the present that it’s transportive and unmooring. The Oakland trio’s songs careen with volatile energy and lead singer Ham D’Amato’s lyrics are enveloped with acerbic humor and resonant perceptiveness. Though their new LP Mucho Mistrust is a sly reference to a beloved Blondie lyric, the title encapsulates both the anxieties of daily life, a bloodless music industry, and global capitalism as well as the clear-eyed skepticism needed to rebel against it. Across 12 propulsively unpredictable tracks, the album is both their most collaborative and most immediate yet.
Following the 2021 release of Fake Fruit’s self-titled debut LP, the band’s personal lives hit a turbulent and transformational period. “There were big life changes and I was so close to boiling over,” says D’Amato. “I left a bad relationship, entered a more stable and loving one, got diagnosed with alopecia, and I'm turning 30 soon too.” This personal upheaval was channeled into the explosive lead single “Mucho Mistrust.” The track is simultaneously disorienting and direct, with clanging guitars from Alex Post, off-kilter drums from Miles MacDiarmid, and D’Amato snarling, “How you gonna blame me / when you could’ve done something about it / it’s not right / How you gonna marinate me / in shitty things overnight.” She explains, “This song was a snapshot of how I got through a difficult year.”
Recorded live at the Bay Area’s Atomic Garden studio with producer Jack Shirley (Deafheaven, Home Is Where), the band’s palpable ferocity shines throughout the record. Single “Más o Menos” is searing punk, with buzzsaw guitars and surging bass. It’s a clenched-fist song, one where D’Amato sings, “I decided to assert myself / After I lost all my sense of self.” Later in the track, D’Amato, who is Chicana, sings in Spanish, “¡No me hables! / ¡No escuchare!” While some of these songs deal in heartbreak, they are charged with way bigger themes. “There's also wanting to break up with capitalism and feeling upset about things politically,” says D’Amato.
For the band, these themes are personal. “I'm managing us while I'm in between changing diapers in my day job as a nanny,” says D’Amato. “Everyone in the band still believes in it and is motivated to keep wading through the bullshit.” On this album, they had no choice but to bet on themselves and each other. No track broadcasts their evolution better than the single “Cause of Death,” which morphs from a gorgeous sax-laden banger to something cathartic and anthemic.
As adventurous and righteous as Mucho Mistrust gets, there’s still an inviting core that never takes itself too seriously. From the ripping “Cause of Death,” which self-deprecatingly takes aim at anxiety and indecision, to the searing title track, Fake Fruit imbue their songs with humor and heart. “Our band is fun,” says D’Amato. “My number one coping mechanism for all of life is to joke about it. Even when the album talks about serious things, I am proud of how funny it can be.”

Live In Europe 1967 – The Bootleg Series Vol. 2 was voted ‘Historical Album Of The Year’ in the Down Beat Readers and Critics Poll. This second volume of The Bootleg Series skips two years ahead to record Davis with his ‘Third Great Quintet’, also known as ‘The Lost Band’ (1969-1970). This line-up consists of Miles Davis, Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette at their peak, though they were never recorded in studio. Live In Europe 1967 – The Bootleg Series Vol. 2 was voted ‘Historical Album Of The Year’ in the Down Beat Readers and Critics Poll. This second volume of The Bootleg Series skips two years ahead to record Davis with his ‘Third Great Quintet’, also known as ‘The Lost Band’ (1969-1970). This line-up consists of Miles Davis, Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette at their peak, though they were never recorded in studio. Their European tours of 1969
are some of the only existing recordings of the group; the first legitimately released audio recordings by this stellar lineup.

Live In Europe 1969 - The Bootleg Series Vol. 2 captures the short-lived quintet in three separate concert settings across four LPs, containing selections from two nights at Festival Mondial Du Jazz D’Antibes in France and one night in Stockholm, Sweden. Special recordings include a pre-studio recording version of “Bitches Brew” which would be recorded in the studio for the infamous record by the same name a few months later.

Live In Europe 1969 - The Bootleg Series Vol. 2 is available as a deluxe 4LP boxset, housed in a lift-off box. The set includes printed inner sleeves and an insert with extensive liner notes.

Last Summer, Daniel Foggin, guitarist, writer and chief architect of Smote, uprooted himself from his usual home in Newcastle to live and work in a farmhouse in Kelso, near the Scottish border. “Through the summer when I was working up there, myself and Rob (Smote drummer) would finish work and go sit by a small river and have a couple of beers in the sun, and it was the best thing ever” he relates “So I guess the philosophy is that to some people it looks like any other stream, but to us it was supreme happiness.” Hence came the title of the fourth Smote album proper, one largely recorded in this same farmhouse – A Grand Stream. It’s an album that’s the truest incarnation thus far of his vision for this band – a full-scale psychic voyage into the ether and a drone-and-repetition-fuelled series of incantations that takes simple, primal ingredients and utilises them for the purposes of aural sorcery, summoning spectres and revelations aplenty in its wake. Whilst the folk-tinged, ceremonial ambience that Smote have made their trademark is present and correct here, utilising Swedish classic psych heaviness and Swans textures as fuel for the ominous rhythms of ‘Coming Out Of A Hedge Backwards’ and the uplifting cadences of opener ‘Sitting Stone Part 1’, Foggin and his cohorts also waste little time exploring new more eerie and ethereal textures and dimensions. The meditative ‘Chantry’ in particular sees them gravitate towards a headspace akin to the drone-based epiphanies of Kali Malone’s ‘Does Spring Hide Its Joy’ filtered through the transcendent amplifier worship of ‘Earth 2’. A Grand Steam takes this band – one who’ve always eschewed the cliches and stumbling blocks of all contemporary psych rock in favour of their own unique and wyrd vision – into a realm in which they transcend through willpower and skill alike into something preternaturally thrilling, mapping out their own crepuscular new territory Question is; dare you step over the threshold?

Die färöische Folk-Singer/Songwriterin EIVOR bringt mit ,Slor" bereits ihr zweites Studioalbum innerhalb eines Jahres raus. ,Slor" ist eine Sammlung neu komponierter Songs, die EIVOR in ihrer Muttersprache - färöisch - eingesungen hat. Das Album ist der Nachfolger des englischsprachigen Albums ,Bridges". Und auch wenn es sich um zwei unterschiedliche Alben in unterschiedlichen Sprachen handelt, gibt es eine Verbindung der beiden Platten. Wo ,Bridges" leicht und vor allem sehnsüchtig war, klingt ,Slor" eher rau und reflektierter. ,Bridges" wurde von Freundschaft, Liebe und Heimweh inspiriert. Es thematisiert die Brücken zwischen uns, Beziehungen zwischen Menschen, Plätzen und auch Dingen, die uns berühren. ,Slor" hingegen gibt sich der Fernsucht hin, thematisiert Trennungen und die Suche nach Frieden. Ein Schleier kann ein Symbol für eine Grenze zwischen Gegenwart und Vergangenheit sein, doch ein Brautschleier hingegen repräsentiert vor allem Glück und Hingabe. EIVOR selbst erklärt den Prozess der Geschwisteralben: ,Als ich die Songs geschrieben haben, erfolgte das Songwriting erst auf Englisch und direkt danach kam es auf Färöisch in meinen Kopf - wie eine Art Spiegelbild." Somit handelt es sich nicht nur um zwei voneinander getrennte Werke, sondern auch um einen zusammengesetzten Moment im Songprozess.

"Music On Vinyl proudly presents the first installment of the acclaimed Miles Davis Bootleg series on pristine 180 gram vinyl!
The explosive transformation of Miles Davis' 'second great Quintet' with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) is laid bare on Live In Europe 1967: The Bootleg Series Vol. 1.

Culled from original state-owned television and radio sources in Belgium, Denmark, and France, this 5 LP box set spans three northern European festival performances over the course of nine days in October-November 1967. The audio shows consist entirely of previously unreleased or previously only bootlegged material. Miles' Quintet lineup of 1965 to '68 is acknowledged as one of the high reference points in 20th century jazz, and its influence continues to reverberate in small group jazz today, and it was the quintet's live performances, as they evolved into Miles' ideal of a ""leaderless"" jamming ensemble, that truly immortalized them.

Live In Europe 1967: The Bootleg Series Vol. 1 is the best historical album of 2012, according to the Downbeat Critics Poll 2012. "

These 3 gems by the original Spiral Tribe Live Set - R-ZAC aka Crystal Distortion and 69db have been carefully remastered by Stefan ZMK.
The A-Side was recorded in 1996 and the tracks on the B-Side Are from 1996 and 1997. Don't miss out on them now, if you don't have these tunes in your collection yet.

The musical "Young, Gifted and Broke", written by Weldon Irvine as writer, musical director, and full lyricist/composer, was originally released in 1977. The musical was inspired by the Black Civil Rights anthem "Young, Gifted and Black," which Weldon wrote with Nina Shimone. The recording session brought together a group of talented musicians, including Marcus Miller, whose name had not yet reached international prominence, to breathe new life into Weldon's distinctive inserts. The recordings were discovered in the early 2010s and released on CD in 2012, and P-VINE is proud to be the first in the world to release them on vinyl!

The year 2020 sure wasn't the most ideal time to form a band, especially for a group of musicians who never played together before. But for New York rock quintet GIFT, this strangest of periods was the auspicious backdrop for a bold new sound - a dizzying blend of early shoegaze, classic `90s alternative rock and even modern pop. Indeed, that GIFT emerged somewhat fully formed on their 2022 debut album Momentary Presence was a testament to the creative possibilities laying deep within. Now, Illuminator, their Aug. 23 debut album for revered New York independent label Captured Tracks, is the long-awaited payoff of GIFT's ever-growing musical and human chemistry. And while nods are apparent to label forerunners such as Beach Fossils, DIIV and Wild Nothing, GIFT are shepherding those elements into wondrous new vessels for the present moment - sleek, often danceable and frequently mesmerizing. GIFT - vocalist/guitarist TJ Freda, multi-instrumentalists Jessica Gurewitz and Justin Hrabovsky, drummer Gabe Camarano and bassist Kallan Campbell - are firmly enmeshed in the New York scene as talent buyers, photographers, DJs, audio engineers, art directors and, in the case of Campbell, an owner of the beloved Brooklyn DIY venue Alphaville. GIFT introduced Illuminator with "Wish Me Away," their first new song in the 18 months since the debut. With its earworm guitar lines, propulsive rhythms, riveting vocals and mind-expanding aural flourishes, "Wish Me Away" is the perfect sonic springboard from Momentary Presence to where GIFT are going next. It's also a potent reminder that you can still preserve that twinkle in your eye even when you feel like everything's slipping away. On songs such as "Light Runner", "Going In Circles" and "Destination Illumination," Freda demonstrates a newfound confidence and versatility, embracing pop music as a vehicle. The relentless, often painful dance of love has never sounded as exhilarating as on "Going in Circles," while the strident tone poem "Water in My Lungs" conjures the unreal feeling of watching a romantic partner both figuratively and literally fade from view. "This album has a lot of themes of going fast, time passing and things changing," Freda says. Throughout, Freda and company thankfully do much of the hard work for us: falling in love, heartbreak. Watching events and moments go by like cars on the highway. People you once knew coming in and out. Grieving the loss of different phases. Watching everything happen simultaneously. For these and many other reasons, Illuminator, friends, will be the soundtrack to the throughline of your life.

Leonardo Del Vita and vocalist Sabrina Anselmi, epitomized the sun-soaked italo grooves of the 1980s. This short-lived group unleashed only a handful of singles between 1985 and 1988.

Their debut single, “Sombrero” surfaced in 1985 as a promo-only 12” on the Roman label LGO, in exceedingly limited quantities, garnered relatively little attention.
Fast forward nearly four decades, it has become one of the most coveted Italo 12”s, fetching exorbitant sums in collector’s circles.

“Sombrero” stands out among aficionados of obscure Italo-disco, embodying a distinct vein: that of summer-themed tracks. With its tantalizing blend of airy arpeggios, Juno 60 synth lines and bass, punchy percussions adorned with claps, DX 7 cowbells and a seductive saxophone solo. “Sombrero” has it all to seduce new discerning listeners, also thanks to the infectious alternating vocals in English and Spanish, featuring hilariously sultry hooks such as “Te quiero, Sombrero!” or “I love muchachas!”

Disco Segreta fulfils another Italo disco dream by reissuing this absolute gem for a broader audience, presented in a meticulously remastered 12” edition featuring the original vocal and instrumental versions, along with the stellar “Estate Dub” by the Chilean-Swedish maestro of Italo-disco, Claudio Burgos, aka Mr. Fantasy, which we are sure will become an absolute dance classic.

Sombrero, te quiero!

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

2022 entstand Dimbild als halbakustisches Nebenprojekt des renommierten Musikers Vintersorg, das die folkige Seite seiner Reise in vollem Umfang
einbezieht und die intensiven Metal-Kompositionen des Hauptacts außen vor lässt. Es ist etwas, das seit Jahren wächst, aber im Jahr 2022 nahm es
seine eigene Form an. In Abkehr von der unerbittlichen Energie des Metal verfolgt Dimbild einen gedämpfteren und introspektiveren Ansatz beim
Musikmachen. Das Projekt ermöglichte es Vintersorg, eine andere Facette seines künstlerischen Ausdrucks zu erforschen und tiefer in die Gefilde der
Folk- und Akustikmusik einzutauchen, in die ein Hauch von Melancholie eingeflochten ist. Die Musik von Dimbild, die sich von der Natur, der
Mythologie und existenziellen Themen inspirieren lässt, entführt den Hörer in eine andere Welt, in der sich Emotionen mit den Klängen von
Akustikgitarren, Perkussion und dem markanten Gesang von Vintersorg vermischen.

In 2004, California-based indie band Golden Shoulders followed up their highly acclaimed debut with their second album, Friendship Is Deep. Now, on the twentieth anniversary of its release, the album most requested by their fans for a vinyl release is finally set for one on Unspun Heroes. Described as “one of the great semi-lost albums of the 21st Century”, the album showcases singer, songwriter, and band mainstay, Adam Kline’s knack for lyrical hooks and penchant for catchy melodies. But, like friendship, this is deeper than its pop sensibilities might suggest.
 
From the moment the opening track I Will Light You On Fire opens with its simple piano refrain and vocal harmonies you know you’re listening to something worthy of further exploration. From this building of tension between its temporary aural chaos and the beauty that ultimately emerges, you’ll be hooked. Yet, scratch beneath the surface and you’ll find this is an album that carries with it a political, pro-peace, and pro-humanity message, albeit somewhat more satirical than you might expect of a band hailing from America’s West Coast. This is particularly notable on tracks such as Golden Soldiers and the Committee, where Kline’s turn of phrase and wit shines through, cleverly weaving words so they create detailed poetic mosaics. 

Golden Shoulders is a loose and ever-changing lineup of international talent, with Kline as the kingpin and sole songwriter. Given the pedigree of those whose talents grace the album – among them, Todd Roper and Greg Brown (Cake), Josh Klinghoffer (PJ Harvey, RHCP, Pearl Jam), Neal Morgan (Joanna Newsom, Fleet Foxes), and Dan Elkan (Broken Bells) – it’s no surprise the compositions and attention to detail present in each and every one of the 14 songs is top notch. It’s this pleasing mix of accomplished individuals, and their mishmash of influences, which lend a pinball effect to the set of stylistically diverse songs on Friendship Is Deep. Collectively though, the music you’ll hear has a focus, one that channels late 90’s Brendan Benson, the poppier side of 80’s Violent Femmes, and even the mid-60’s flair of the Beatles’ Rubber Soul. 

Following a ten-part series of unannounced artist records and a spectacular high-concept album on Mask Records, label head ZentaSkai returns to the imprint for his next solo vinyl-only release, ‘Bob’.
The A1 sees the Berlin-based ZentaSkai combine a dusty, taped white noise feel with subtle, swirling dub chords as its high-end propels the track forward. It’s a stunning and evocative piece before the A2 continues with minimal drums and electric acid bleeps, a smooth organ lead completing its gorgeous soundscape.
On the B-side of the ‘Bob’ EP, ZentaSkai joins forces with long-time collaborator Sebastian Klenk. It follows their
‘Apeiron’ track on ZentaSkai’s 2023 ‘Architecture Of The Mind’ LP, among other joint work, and sees them deliver a near-twelve-minute track that is a true masterpiece. The track takes listeners through found-sound texture samples, intricate drum patterns, crunchy breakbeats, and more beautiful dub melodics.
‘Bob’ is another fantastic listening experience on Mask Records, already supported by Satoshi Tomiie, Raresh and Laurent Garnier.

American Standard beginnt mit einem Schock. Sänger Michael Berdan steht allein und schreit: "A part of me, but it can't be me. Oh God, it can't." Alles beginnt mit einem Geständnis. Hinter den erschütternden Schreien verbirgt sich der Schmerz der Bulimia nervosa. Es ist der Schmerz einer Krankheit, die ebenso physisch wie psychisch ist. Dies ist eine Art von Aufbruch. Mit jedem Satz von American Standard schält Uniform eine neue Schicht ab und erzählt die Geschichte im Inneren der vorhergehenden. Die Texte dringen in den Kern des innersten Selbst ein, in das kleine menschliche Wesen, das im Griff der Krankheit zerquetscht wird. Um diese Geschichte von Essstörungen, Selbsthass, Wahnvorstellungen, Manie und letztendlicher Entdeckung zu entschlüsseln, holte sich Berdan Hilfe von zwei überragenden literarischen Außenseiterfiguren. Zusammen mit B.R. Yeager (Autor des modernen Kult-Klassikers Negative Space) und Maggie Siebert (dem Kopf hinter dem zeitgenössischen Body-Horror-Meisterwerk Bonding) nehmen die drei Autoren das persönliche Material auseinander, um ein Porträt psychischer und physischer Krankheit zu präsentieren, das so eindringlich und erschreckend ist wie nichts anderes im heutigen Kanon. Das Ergebnis ist eine akkurate Artikulation eines Zustands, der über einfache Qualen hinausgeht, und fängt die aufregende Transzendenz und Befreiung ein, die Krankheit in diesem Prozess bringen kann. American Standard ist mit Sicherheit das thematisch gelungenste und musikalisch selbstbewussteste Album von Uniform, das es bisher gab. Abschnitte drehen sich und explodieren. Motive driften ins Ungewisse ab, bevor sie sich mit neuer Kraft wieder durchsetzen. Genres kollidieren und brechen auf und formen etwas Eigenwilliges und Neues. Es gibt eine Größe, die zum Teil auf die Hinzufügung des Interpol-Bassisten Brad Truax zurückzuführen ist, zusammen mit dem perkussiven Druck und Zug des zurückkehrenden Schlagzeugers Michael Sharp und des langjährigen Tour-Schlagzeugers Michael Bloom, der hier sein Uniform-Aufnahme-Debüt gibt. Diese Großartigkeit ist jedoch ganz klar der Größe und Kraft der Arrangements von Gitarrist und Gründer Ben Greenberg zuzuschreiben, die immer elegant zu den intensiven lyrischen Themen passen. Ohne den geringsten Zweifel ist American Standard ein Kunstwerk, quälend in seiner Ehrlichkeit und unerbittlich in seinem Streben nach klanglicher Transzendenz. Es ist abscheulich. Es ist wunderschön. Es ist notwendig.

"Vanatühi" by Kiwanoid is a technopagan concept album. Track titles refer to the word "nothing" in various languages.
The sonic landscape is crafted using deprecated tools: a first-generation 4-bit laptop, the DOS operating system, and a tracker program. Inspired by glitch aesthetics, the sound palette includes clicks, error noises, and low-bitrate techno sounds. Initially, the structures of the pieces may appear complex and chaotic. This electronic thicket might seem abstract, cold, and inaccessible, yet upon closer examination, it reveals a plethora of diverse species, coming across as somewhat nostalgic and warm, evoking surreal associations. From beneath towering sequoias peek pixelated ferns, LED eyes are blinking from below the undergrowth, and against the backdrop of a crackling campfire and cave paintings, a lively stomping of microchips unfolds.
Sudden contrasts, sharp cutting edges, a tachycardic bass drum engine, and irregular polyrhythms make themselves physically felt. Elsewhere, haunting lo-fi textures, hidden ambient drones, mysterious hums, and obscurely garbled samples offer introspective breathers. The dynamic range of the music is favourably extensive, and the raw imperfections of the sound are unmasked by reverb effects or other generic tools. Interwoven throughout are outsider rhythm loops, which could find a home at an alien rave party or a hobgoblin honky-tonk. Various human voice samples build a bridge to the listener, allowing them to embody a cyborg-like experience.

While each twist and turn remains unpredictable, these diverse approaches align in complementary patterns and stochastic regularities, making the whole surprisingly coherent, despite its chaos. The album doesn't bore the audience with intentionally irritating compositions or pseudocomplexity - it demands attention, but doesn't try to outrun its listeners.

Presenting 3+5, the long-awaited eighth album from Tokyo-based noise-rockers Melt-Banana on their own A-Zap label! The album showcases the duo’s visionary musical approach and extraordinary abilities as performers: Yasuko Onuki’s giddy, hyperactive vocalizing and Ichiro Agata’s glitchy, cyberpunk guitar, delivered at dizzying speed, bathed in aggressive electronic sounds. Their aesthetic approach is exultantly experimental, fusing diverse genres imbued with chaotic energy. As on their previous works, the music on 3+5 is unpredictable, always filled with surprises and excitement. 3+5 synthesizes elements of a variety of extreme music, hyper-pop, classic punk, vintage metal, and noise. It partakes of Japanese culture overall, especially the subcultures of gaming, anime and underground music. Melt-Banana seek to offer possibilities to musicians who won’t start a band if they can’t find a drummer, young women afraid to express themselves in their own unfiltered and unique voices, bedroom musicians and egg punks seeking to blend electronic noise with live instrumentation. 3+5 provides a fresh experience and perhaps inspiration for all. While Melt-Banana hasn’t explicitly explained the meaning behind the album’s title, 3+5, prime numbers symbolize mathematical integrity and independence, which could represent the band’s uniqueness and freedom. Why “3+5” and not “1 + 7”? One is left to ponder.

Action Speaks Louder Than Words is the 1975 debut album by Chocolate Milk, a funk and soul band from New Orleans. The band emerged in the mid-1970s and quickly gained recognition for their unique sound that blended the rich musical traditions of their hometown with the influences of contemporary funk and soul. The band was discovered by producer Allen Toussaint, a legendary figure in New Orleans music, whose influence is evident in the polished arrangements and the band's tight, cohesive sound. The album's themes of social awareness and personal reflection, combined with its infectious grooves and skilled musicianship, have ensured its lasting appeal. Also due to the single and title track ""Action Speaks Louder Than Words"", which charted well and was later sampled by numerous artists, including Public Enemy, Eric B. & Rakim, Aaliyah, Neneh Cherry and Toni Braxton feat. The Notorious B.I.G & Puff Daddy, cementing its place in music history. Action Speaks Louder Than Words is available as a limited edition of 500 copies on red coloured vinyl.

The inspiration for ‘Skin Breaker’ comes from my early years of watching sci-fi films. Howard has always been fascinated by them . As a huge fan of 80s beat tracks and 80s sci-fi, Howard aimed to blend those influences into this project. This project is a tribute to the sounds and styles that have inspired him.

skorri is an icelandic producer and performer. following his contribution to "hot steel: round 3", "randyrtsport" is his solo debut on Trip and a deep dive into the indulgent world of sound he crafts so meticulously.

randyrtsport, named after 'dyrt sport', an icelandic saying meaning an expensive hobby, explores this theme; each track showcasing the high stakes and rich rewards of skorri's audio adventures. "randyrtsport" stands as a compelling body of work featuring 11 bangers from a producer who views his craft through the lens of lavish auditory explorations.

Ungod is the debut album by industrial rock band Stabbing Westward, released in 1994. The album blends aggressive guitar riffs with dark, brooding electronic elements, capturing the angst and intensity of the early 90s alternative scene. Produced by John Fryer, known for his work with Nine Inch Nails and Depeche Mode, Ungod features standout tracks like ""Violent Mood Swings"" and ""Nothing,"" showcasing Christopher Hall's raw, emotive vocals and the band's gritty, atmospheric sound. Although it didn't achieve mainstream success, Ungod gained a cult following, establishing Stabbing Westward as a significant force in the industrial rock genre. The album's dark, introspective themes and innovative production remain influential in the industrial rock landscape. Ungod is being reissued for the first time since its original release and is available as a 30th anniversary edition of 1000 individually numbered copies on translucent red & black marbled vinyl. The vinyl package includes an insert.

BBsitters Club is a rock band based in Chicago that features Doug Kaplan and Charlie Olvera on guitar and vocals, Max Allison on bass, and Paul Birhanu on drums. As the label’s de-facto in-haus band, BBsitters Club satisfies Hausu Mountain co-founders Allison and Kaplan’s urge to remain connected to the rock and roll music they grew up loving and playing — far across the spectrum from the experimental electronics featured on the lion’s share of HausMo releases.

A solid four years after the one-two-punch releases of BBsitters Club & Party, the band’s 2020 debut studio album, and Joel’s Pick’s Vol. 1, the first volume in a series of audience-recorded live takes from shows around Chicago, we find the BBs reviving the Joel’s Pick’s series with Vol. 2. Charged with the energy of a close-knit group of friends willing to follow along with each other’s most outlandish ideas both in composition and live performance, JPV2 offers us a bewildering yet always tongue-in-cheek palette of ideas cherry-picked and mashed together into amalgams that both embrace “rock traditions” and defy them with a cherubic grin.

BBsitters Club’s amorphous compositions land somewhere between the world’s most baked prog band and a jamband that’s never content to lapse into wheel-spinning complacency. On JPV2, BBsitters Club cartwheel between eras and styles of rock music with abandon — a TV stuck flipping channels after your dad falls asleep with one leg on the remote. We encounter the elliptical dueling guitars and autumnal atmospheres of midwest emo / math rock, the gregarious stomp of electrified country rock, blues rock that has melted from ingesting one too many hallucinogens, and fried Devo-style art punk that breaches into the realms of ska before melting into free-form noise rock flecked with the bizarro imitative instrument tones of Kaplan’s MIDI guitar.

The wild greaser with an ever-broken heart, Cong Josie, is back! His eagerly anticipated sophomore album; Moto Zone, pulls up throbbing, revving, sweating and grinding hotter than bitumen on a summer day. It is a non-stop EBM’in’, synth-punkin’, rock ’n’ rollin’ and doo-woppin’ sizzler, in much the same vein as his 2021 debut Cong!. With this release however, Cong pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder, slow sleaze hip-grinding enters and the dream washes return to envelope all that hear them like a siren’s call. On Moto Zone, Cong conjures the age of rock ’n’ roll, a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair pomade, with an Aussie twist on greaser ‘cool’. Confessional lyrics tell tales of addiction and mental illness tracing the scars of a troubled past. Cong says the “Moto Zone” reflects his daily life and mindset. A life of ADHD, burning the midnight oil, living on black coffee, obsessively creating and revving through every day. Ultimately Cong is reaching for bliss, feeling connection and a new world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful? A lust for life? The record is all of the above.

The Norwegian underground black metal band Kirkebrann has ventured from the early days of 2004 to now with increasingly more aggressive, misanthropic and epic themes of real-world tragedy as they unfold before our very eyes. Their frosty, rough and harsh black metal is equal to the classic early Norwegian black metal of the early ‘90s. The second full length has been in the making for almost a decade with some of those songs performed live for the same amount of time through blasphemy, blood and existential dread; featuring multiple guests on vocals of madness and triumph.

This album marks the beginning of a new era in Kirkebrann's twenty years of existence with its unrestrained force - full of blastbeats - in conveying dreadful, atmospheric and melancholic harmonies and sound of inspiration from the dark forces that are enclosing upon humanity's imminent downfall. “Mot Trellenes Forfal” was recorded by Kirkebrann with Draug on vocals, Hrafn on lead guitar, jK on guitar, Januz Skroemt Kvirinus Bifronsson on bass and Nødset on drums. The album also features guest vocals by Dødsherre (Djevelkult), Nasreten (Carpathian Forest), Cornu (Svikt), Lianne Krossburner (Edenkaiser) and Skrotmunn Blåskrott (Likfunn). It's time to release this curse upon humanity and release us from its limbo!

The third album from beloved Nashville indie rockers The Medium, City Life is the first they’ve produced on their own. Recorded in their homes with the help of a few friends, this grassroots approach to recording captures them simultaneously at their most relaxed as well as their most airtight. Ironically, City Life presents the quartet sounding their most country yet – sonically embracing some of the musical territory of their hometown as well as lyrically wrestling with the challenges of its rapid changes. The band’s penchant for saccharine harmonies, hypnotic riffs, and earnest ballads cohere everything into a uniquely relevant take on a classic 70’s rock sound. The record envisions ‘city life’ as a call for a better world – a society driven by care over productivity; by community over profiteering.

Music On Vinyl proudly presents the second installment of the acclaimed Miles Davis Bootleg series on pristine 180 gram vinyl! Part 1 (Live in Europe 1967, MOVLP421) was voted Historical Album Of The Year in the Down Beat Readers and Critics Poll. Bootleg 2: Live In Europe 1969 skips two years ahead to record Davis with his ‘third great quintet’ also known as ‘the lost band’ of 1969-’70. This line-up consists of Miles Davis, Wayne Shorter, Chick Corea, Dave Holland and Jack De Johnette at their peak – they were never recorded in studio. Their European tours of 1969 are some of the only existing recordings of the group; the first legitimately released audio recordings by this stellar lineup. Bootleg 2: Live In Europe 1969 captures the short-lived quintet in three separate concert settings across 4 LPs, containing selections from two nights at Festival Mondial Du Jazz D'Antibes in France and one night in Stockholm, Sweden. Special recordings include a pre-studio recording version of “Bitches Brew” which would be recorded in the studio for the infamous record by the same name a few months later. The audio sources of Live In Europe 1969 have been remastered from the highest quality masters available, secured from the European broadcast centres where the material was originally documented.

Live In Europe 1967 - The Bootleg Series Vol. 1 showcases the ex- plosive transformation of Miles Davis’ “second great quintet” with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). Miles’ Quintet lineup during that time is acknowledged as one of the high reference points in 20th century jazz, and its influence continues to reverberate in small group jazz today. It was the quintet’s live performances, as they evolved into Miles’ ideal of a “leaderless” jamming ensemble, that truly immortalized them.

Culled from original state-owned television and radio sources in Belgium, Denmark, and France, this set contains three northern European performances over the course of nine days in October and November 1967. Live In Europe 1967 - The Bootleg Series Vol. 1 is the best historical album of 2012, according to the Downbeat Critics Poll 2012.

Live In Europe 1967 – The Bootleg Series Vol. 1 is available as a deluxe 5LP boxset, housed in a lift-off box. The set includes printed inner sleeves and a 16-page booklet with exclusive photos and liner notes by jazz-historian Ashley Kahn.

The perfect soundtrack for celebrating Halloween with novelty rock'n'roll. For fans of deep 1960s vintage Halloween themed tunes: witches, werewolves, monsters, devils, aliens, and zombies set the stage for a camp and entertaining holiday bash. Features the super-rare 1962 Bettye LaVette track, "Witchcraft in the Air," and the trailer to the 1959 Vincent Price spooktacular, House on Haunted Hill.

Mere months after releasing their critically acclaimed debut LP “Judgement Day”, five piece Rock & Roll group The Judges return with a “seven inch” - a format often utilised and deployed in the lead up prior to album releases, but not in this case - which features two tracks that Judges fans may recognise from their recent concert performances. “Guns”, a droning groove-meditation on international arms trafficking, imperialism, war, and the utter uselessness/usefulness (?) of using Rock & Roll as a weapon against the establishment that arguably created and fostered its growth. And “(The People Want A) Show”, an uptempo neo proto-punk number thematically concerned with the inherent desire of the undiscerning masses to endlessly consume entertainment media of all kinds, including the aforementioned format of Rock &Roll. Both tracks were composed, performed, recorded, and mixed by The Judges, and now exist in both physical and digital formats for you to consume and enjoy at will

The French-Mauritanian conductor, pianist and composer Leila Olivesi presents her sixth album ASTRAL - a brilliant opus with the best musicians on the French jazz scene. The albumis also her second with a large ensemble, the first being the acclaimed Suite Andamane,which received a coveted "Coup de Coeur" from the Academie Charles Cros.

A gifted composer, Leila was inspired by the great jazz masters, including Duke Ellington, and Mary Lou Williams. 'ASTRAL'demonstrates their influence and her talent for creating harmonic and melodious original music, full of modernity.

"Leila's music has compositional and conceptual integrity - recurring themes intertwine and morph through the title track 'ASTRAL', the trippy interlude 'Interstellaire' and the song 'Au Feu Des Reves'. There are surprises waiting around every corner, and she deftly avoids any hint of that tired old "head insolo-solo-solo-head out" formula. Odd meters dance effortlessly, and she's not afraid to swing! While her original music is the focus of this album, Leila's fresh arrangement of Mary Lou Williams' classic 'Scorpio' is a lovely bonus. This is fully contemporary acoustic jazz on a high level, with brilliant musicians that interpret and breathe her musical visions to life." - Geoffrey Keezer

On their new studioalbum '...and everything in between' progressive boundary pushing quartet
UNPROCESSED are taking all influences and combining them into an ultimate evolution of everything
UNPROCESSED has ever been, while still adding a new flavour and style to the mix. Epic riffs with intricate
licks and mind-bending rhythms, brutal breakdowns, epic guitar solos and big and catchy choruses.
Opaque Sunburst colored vinyl

The follow up album to 2019's Dusted Jazz Volume 3. Pressed on 180 gram, White & Orange Marbled Vinyl. Jenova 7 emerges once again as a beacon of auditory innovation with his latest opus, Lost Sci-Fi Movie Themes. Released under the banner of Cold Busted, this collection of 16 tracks serves as a time machine, whisking listeners away on a journey through dimensions both familiar and uncharted since his last foray with 2019's Dusted Jazz Vol. 3. Jenova 7 has meticulously crafted an album that resonates with the essence of ‘90s trip hop nostalgia while propelling us into the cosmos of futuristic soundscapes. The album's standout tracks—“The Future 1995,” “My Zero G Love,” and “Downtown Lost In The City Of Lizards”—are masterclasses in genre-blending and atmospheric storytelling. "The Future 1995" envelops one in a nebula of boom-bap beats, cosmic sound effects, and b-movie vibes, creating a sonic experience that feels like intercepting radio signals from a distant, funk-infused galaxy. Meanwhile, “My Zero G Love” floats the listener through the velvety darkness of space with its sexy lounge feel, portamento synth lines, and the undeniable funk that glimmers under starlight—evoking the sensation of grooving in weightlessness. Then, there's “Downtown Lost In The City Of Lizards,” a track that saunters through the urban jungle with sparkling keys, evocative guitar spurts, and strutting jazz bass, painting a picture as vivid and surreal as its title suggests. Jenova 7's skill lies in his ability to fuse moody, jazz-inflected samples with grooves that draw one into a distinctly atmospheric sound—a cinematic journey through time, space, and emotion. His tracks are experiences, wrapping the listener in a cocoon of vibrant soundscapes that are both introspective and expansive. Lost Sci-Fi Movie Themes is an invitation to explore the unknown, to lose oneself in the depths of imagination and emerge on the other side transformed. For DJs looking to transport their audience to another dimension and for music fans yearning for a taste of nostalgia wrapped in the allure of the future, Jenova 7's latest release is a must-discover treasure. Dive in and let the odyssey begin

Electronic titan Sasha combines with Sentre for the latest in a series of collaborative releases. The release of 'Glastacy' coincides with this year’s Glastonbury festival and comes with something special for fans.

Even by his own high standards, electronic luminary Sasha is in a superb run of form that has already yielded some stellar singles in the last year, both solo and in collaboration with like-minded talents. TheGRAMMY Award-nominated artist is renowned for pushing musical and technological boundaries, as well as for platforming exciting sounds on his Last Night On Earth label. The next release finds him working with Sentre, aka Dave Gardner & Dennis White, who have been electronic mainstays for many years. They have plenty of major credits under their belts, including working with Sasha on his seminal ‘Involver’ album and also 'Track 10' which they made with Sasha many years ago. It was Pete Tong’s Essential New Tune at the time and is one of many gems from these self-confessed studio nerds.

The release of ‘Glastacy’ also marks a new approach for Sasha and LNOE as they extend their relationship with fans beyond just the music. For the first time, along with the single release, fans will be able to collect and own the single artwork for free. The label has always sought to marry together music and art across its releases and now fans get the chance to own a piece for themselves. Using pioneering technology, those who claim the art will also be able to convert it to a smartphone wallet pass which will bring with it future benefits and surprises from Sasha and LNOE.

'Glastacy' is their latest collaboration, and it works angelic, wordless vocal sounds into heavenly loops that shimmer in and out of focus. Deft hi-hits and a supple bassline bring movement as a lead synth motif rises up out of the mix to bring dramatic tension and take dancers to the stars. It's emotive, hypnotic techno of the highest order, with a spine-tingling breakdown leading towards more trance-inducing musical pleasures. The Intro:Outro Mix is an ambient tool stripped of beats.

Brownswood Recordings are proud to present a brand new 12” series showcasing new remixes and old reworkings from the label’s rich back catalogue. Brownswood’s roots are nestled deep in the dancefloor; extended versions, edits, remixes and 12 inches, cut loud for extra bass-weight for club subwoofers, have always been part of the label’s repertoire. The Remix Editions is a new platform to showcase some of these tracks on wax for the first time, shining a light on exciting contemporary producers as well some of the forgotten club weapons from years gone by. Each drop will be on 45 & will be limited to 500 units - so grab them before they’re gone.

The first instalment in the series features two reworkings of South African pianist Bokani Dyer’s Ke Nako (feat. Sereetsi & The Natives).

Side 1 features Kid Fonque’s hypnotic and stretched-out house refix of Dyer’s scintillating funk track. He stretches Ke Nako into a 10-minute epic cosmic dance floor journey that perfectly manages to trace a line between the South African electronic sounds dominating the globe and the nation’s Jazz underground, bubbling below the surface.


a A1 Ke Nako (feat. Sereetsi and the Natives) Kid Fonque Refix
Ntokzin Remix