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Harmony returns to the forefront of his label with his latest EP. As ever, this is one heavyweight burner of a release, with tracks guaranteed to destroy any and all competition on any and all sound systems!

Ricky Force has built a huge following based on his strong jungle roots and ability to combine the deep dark cuts with the sublime and subtle, whilst still making dance floors shake. This EP is no different, with each track showing the high level production we have come to expect!

Another excellent EP from Subjects, an artist that can do no wrong! Each track on this EP is lovingly crafted to show the skills of an artist at the top of his game!

Selector Series has really hit its stride with a rich vein of audio gold and following hot on the heels of Gene Harris’s ‘Losalamitoslatinfunklovesong’, they have unearthed yet another in demand gem with The Vibrations ‘Shake It Up’. It is remarkable to think that this re-issue marks the 50th anniversary of its original release in 1974. It then resurfaced as one of the biggest records soundtracking the mid ‘80’s London warehouse parties and rare groove scene. The epitome of modern soul, this 2-step masterclass sounds as fresh on today’s dancefloor as it did when tearing the roof of those all-nighters.

Co written by Bunny Sigler and arranged by Vince Montana, the swirling strings and distinctive percussive intro is guaranteed to uplift any dance and subsequently, Shake It Up found its way onto many a diggers wants list. Flipped with the mellower Thom Bell and Linda Creed penned ‘Make It Last’, here is your chance to own a pristine vinyl copy. As with everything on this label, buy on sight and spread the love.

Acid Electro Techno to Hard Techno... A bit in a CHOOSE style. A fatal EP with a black light sensitive sleeve !

BIG UP to ISOPE for this pearl !

Season by season, we raise a toast to our artists and guests by creating a new collection of sounds. Cafe Soda Selects Volume One captures all the memories of the past year. The A-side starts with Crymes . The track captures the essence of summer with its vibrant dub rhythms and sultry 90s vibes, featuring irresistibly sexy vocals that embody pure feel-good energy. A2 sets the stage for Ben Balances , a vibrant track that seizes the eclectic energies of people, weaving together dynamic rhythms and the deep essence of souls. It is a musical journey that celebrates the unique spirit and rhythmic soulfulness inherent in us all. On the flip, check out the two originals from FMN, the latest project by Frag Maddin and Najeh. is a catchy groove that easily grabs every dancer with its rolling bassline. The song has no breaks, allowing ravers to stay in trance. With , B2 celebrates a raw house anthem with a memorable theme, thick kick, banging clap, and a wild hi-hat swing. An homage to the 90s powerhouse era.

Rodenwald - Tauchstation ENNI2
by Rodenwald feat. Remixes by Pozek & Too Old Boys

With their grandiose deep techno remix of Peska's "Kick It Slow", released on Endless Night 1 (ENNI1), the duo from Rodenwald shot themselves straight into the role of favorites for the subsequent release on our sister label. And here it is, the latest Rodenwald creation - Tauchstation. Flanked by 2 outstanding remixes by Pozek and Too Old Boys.

It goes pumping downwards into the depths of nighttime worlds when „Tauchstation“ sets off on its journey. We sink deep with whipping synthesis in which the acid soon gets involved... a grandiose intro that prepares you for the fact that this journey will expand your consciousness... It's good that you're on board! It's going to be long…and deep!

Pozek´s Remix tickels the potential for the driving force of this journey. 145 bpm is a must - your training pulse - so stay calm - we sink together and experience worlds that no individual has seen before. You can feel the passion with which Pozek navigates here.

The Two Too Old Boys (Tommers and Introspective Views) bring a harder gear with their remix. The characteristic sound of 90s synths underpinned by biting industrial beats lets us sink deeper with Rodenwald's "Tauchstation" - and feels like you're in the middle of one of Stefan ZMK's superbly arranged sets. Goosebumps that will make you realize once again - What looked like morning was the beginning of Endless Night.

Includes digital download code, artwork sticker & label sticker and the highly coveted “What looked like morning... “ sticker


CREDITS

Creation/Performance: Rodenwald, Pozek, Too Old Boys
Mastering: Pozek
Artwork/Layout :TDSiGNZ
Executive Producer: Lyta Hall

Prince Istari attends the Riddim Dub School. 1st Grade lessons brings us computerized acid and dub. Nothing to say about this one, except that it brings you original flavours for computerized riddims and stepper lovers. Made on earth with love, for space exploration and bass. Limited to 300 copies and comes in stamped cardboard sleeves.

BLACK GIRL SINGER LM, formerly known as Lillie Nicole McCloud is a singer of exceptional ability with a sparkling career and a discography spanning seven albums.

Worth noting that in 1986 as Nicole, she had the smash hit ‘New York Eyes’ - a duet with the late great Timmy Thomas.

Her musical collaborations include Melissa Morgan, Keith Sweat and Angie Stone to name just a few!

Now as BLACK GIRL SINGER LM, she has begun releasing new songs. I DO LOVE YOU is considered by ‘those in the know’ to be one of the finest soul tracks from last year. Totally enamored by the soulful vocal prowess and production qualities, IZIPHO SOUL had to gain a vinyl release. On the flip side, this queen of vocals brings it home with the fervent ballad HEART OF HEARTS.

Rick Holmes’ breath-taking track, ‘Remember To Remember’ gets its first ever officially licensed, remastered reissue on Gold Mink Records. With prices of the original topping £60 this one will be a welcome sight for many.

Title track, ‘Remember To Remember’ is a celestial, emboldening downtempo cut. Beginning with the timeless line, ‘Pass the information, extend the knowledge…’ Rick dives into a spoken word stream of inspirational black artists and key figures whose most memorable words and song titles are framed into snippets of wisdom that get ever more significant the greater in number they become. A powerful monologue, in Rick’s warm reassuring tones, shining a light on those men and women who have made ‘strong contributions to mankind because of their compassion and humanitarianism’, laid over instrumentation you lose yourself in just as easily.

‘Remember to remember, to never forget.
How Long… how long… how long will it take man?
For us to come together.
It will take us as long as you make it…’

Words that ring just as true today, as they did 40 years ago, yet with a new sense hope in the air and prospect of progress approaching.

The B side houses another of Rick’s mesmerising monologues – ‘To The Unknowledgeable One’ motivational, moving and smooth as you like.

Licensed from Uno Melodic Records, Inc, courtesy of Expansion Records.

This is the limited edition pressing of the Rob Hardt album track
„Weekend“ which became the family barbecue anthem and the title theme
song of the first 45 Weekender Hamburg festival.
With remixes from DJ/producer greats like Rob Hardt, DJ Friction and
producer duo EFBNMXMIX this double 7“ vinyl is a must have for the
summer season and should be put on during every family barbecue,
blockparty or in smooth DJ sets in general.
This special edition in coloured vinyl and with a 4C full cover was pressed
originally for the festival and hit the opening party on July 12th 2024.
Fresh from the press plant it was handed out to the 30 international
participating 45Soulciety DJs and took their heart and the audiences
during the festival by storm.
Limited to 300 copies it already is a classic

By it's very nature "Radio Chevére", the new album by Rio 18 and their host of guests cannot be categorized simply: at once both a Latin mixtape and a radio show, it's also an internationalist love letter, an offering to the goddess of Tropical Music and all that it encompasses. Ambitious, yes. Foolhardy, possibly. But sincere, committed and FUNKY? Definitely.

With the voice of guest DJ Coco Maria as our guide, "Radio Chévere" takes us on a journey through myriad musical styles and stories. Stopping off at Uruguay, Brazil, Venezuela, Colombia, Mexico, California, New York and countless other sonic destinations via Samba, Salsa, Funk, Cumbia, Joropo, Disco, Psychedelic and Electronic stylings, "Radio Chévere" is also a musical metaphor for migration - a journey from one continent, one life to another.

This album features songs in no less than four languages (Spanish, Portuguese, Welsh and English) and includes collaborations with Brazilian legends the +2's (Moreno Veloso, Kassin and Domenico Lancellotti) on the tender samba ballad, "Oh Minha Querida", transatlantic Yacht Rock gods Young Gun Silver Fox ("She's In LA"), "Sao Paulo's finest" Silvia Machete on the sweaty funk "Maybe Man" and Venezuelan Llanera and Joropo queen Luzmira Zerpa sings "Padre Tiempo", set to an incessant Afro-Venezuelan pulse. Why this torrent of eclectica now? Having recorded three albums in Welsh, predominantly inspired by Brazilian music, Rio 18 founder, Carwyn Ellis had a hard time following 2021's "Yn Rio": "We'd made a concept album with an orchestra. How do you follow that?" he says. "So I retreated to my laboratory, learned as much new music as I could, started learning Spanish too, and ended up writing tunes in a bunch of languages and styles, all of which reflected things I've learned or experienced over the last couple of years."

Since the group's inception in 2018, on the suggestion of Chrissie Hynde when he toured South America as a member of the Pretenders, Carwyn has been on a voyage of musical discovery through the styles of that continent. And in those five years he learnt a lot! But in a radical new move, Carwyn has stepped back from the mic, preferring to focus on writing and producing, handing over the vocal duties to band members Baldo Verdu (Venezuela) and Elan Rhys (Wales) plus a host of collaborators. "They can sing and express what I'm feeling so much better than I can, and both Elan and Baldo bring an authenticity and strength to our songs that surprise and elevate me. Collaborating with so many other inspiring artists on this album has helped us to grow and assimilate more styles - we're halfway through our next album already."

Rio 18 is an internationalist collective with Celtic and Latin roots and love at their core. With eye popping carnivalesque cover art by the brilliant Colombian graphic artist, Yoda, "Radio Chévere" is both timely and timeless.

Hot Piroski Records have been on something of a hiatus for the last year or so but now make a welcome return with a new EP series. This collaborative affair is the result of an epic journey in an old Mercedes from London to Gunjur and finds label head Robin 12Tree working with The Gambia and Bongo Koi as Gambian Disco Express. 'Enlightenment is Now' marks their first release on Hot Piroski Records and it comes with vocals from Gambian mystic Rev. Joseph N'Gole, recorded on the banks of the River Gambia. This one has already been hammered by Psychemagik, Pete Herbert, and Severino from Horse Meat Disco so it comes quality assured.

With over 100 releases to date Dark Vektor, is considered by everyone in the industry to be the most respected Spanish Elektro producer. On December 3, 2023, Dark Vektor played a historic live set at Ombra Festival. This tribute record includes 99% of the playlist from that performance, featuring tracks from his most acclaimed releases to date. This record is an absolute must-have for any avid collector, its value is guaranteed to increase.. Presented in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid LIGHT GREEN and LIGHT MAGENTA vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Sometimes, we have the tendency to run away from distress because we do not want to deal with the feeling of pain, but the first step in spiritual healing is overcoming the fears and recognizing the pain. The sooner you address the cause of your difficulty, the sooner you’ll get freedom from the pain. Be aware of your situation.
Once you have faced the source of anxiety, you need to acknowledge the pain. Feel your emotions and question what their sources are. Be honest about your feelings. In this stage, it is normal to feel like situations are beyond your control, which can transfer the feeling of hopelessness. However, by allowing yourself to feel rage, it becomes easier for your wounds to heal. Honor your feelings.
Honoring your pain will teach you self-forgiveness. You should be able to feel the kindness within you and experience all the love you have for yourself. You will feel a conflict between the instinct to heal on your own, and the desire to accept the situation and seek support to get healed. You prove that you have an unwavering determination to get healed by choosing the latter. When you want spiritual healing, you have to place your faith in the universe, too.
Surrendering the pain means releasing the pain and seeking support from the universe. It will help you ease your sufferings.
The negative ego vanishes from within you and makes your heart feel lighter once you release your pain. This is a sign of spiritual wellness. You will start to feel a deep openness towards things and think with a peaceful mind. You will become whole again and you will develop the ability to deal with the disruptions of your life with tolerance. The inner peace will be restored. Feal.

A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves.

Jazz Room Records are pleased to release this special cover of the underground club classic "Hibaros" originally by B&G Rhythm (Donny Beck & Steve Gutierrez and featuring Bobby Lyle!) and after one listen you will agree that this is a must-check 45! Over on the flip is "Something Special", a Latin-tinged jazz-funk number that's every bit as essential as the floor rocking A-side.

We are delighted to present the debut record by pianist, poet and radio producer Phil Smith. Turning his attention away from BBC feature-making, and his cult Jazz-Disjunction NTS show, Phil offers us the diaristic, heartfelt and homespun "Tagebuch".

"Tagebuch" is a collection of musical journal entries, spanning Phil's time living in Berlin from 2013—2017. Using sweetly tumbling piano as a starting point, he flexes his storytelling chops, shifting from scene to scene via voice, folk-jazz arrangements, musique concrète and the occasional techno-synth chugger.

Don't be fooled by Phil's back-of-envelope charm, this is an expertly-crafted radio biopic without words; the minutiae of life percolated through layers of accordion, U-Bahn harmonics and beer foam. A talented cast of guests and friends, notably multi-instrumentalist Zac Gvi, add an unassuming weight and emotional muscle to this deeply personal source material.

Recommended if you like John Carroll Kirby, Penguin Cafe Orchestra or Alabaster DePlume. The vinyl edition of "Tagebuch" comes complete with a book of poems and photos by Phil.

Lalomie Washburn is an US soul vocalist (25th August 1941 - 18th September 2004) from the Soul/Funk 70's band „High Voltage“ who released her solo album, „My Music Is Hot“, in 1977 and collaborated with many artists including Stevie Wonder, Quincy Jones, Chaka Khan and Ray Charles over decades.

In 1992, she released several 12" singles including the independant hit „Try My Love“. This hit single leaded her 1997 second (self-titled) solo album and became a huge Acid Jazz classic to be found on various compilations in the mid to the late 90ts.

In 2005 she was inducted into the Omaha Black Music Hall of Fame.
Now, 20 years later this song still got all the energy and musicality to be back big in the clubs and with the 2024 Boogie Back Remix in the Boogie Funk style on the flipside, DJs will have even more reasons to spin it and prove their love for it…

“Überkeine underlines his inclination towards textured techno drifts with this second Ep. Four tracks designed for the club, designed for motion, stirring up disorder on the dancefloor. Aggressive Starter, as its name implies, lays the foundations of the record with assertiveness.
Infatuated with Broken beat techno debauchery, Überkeine continues
experimenting the relationship between kick drum layers and synthetic rambunctious sounds. Revolving around a simple yet effective loop, this track toggles between various stages of distortion bringing emotions through force and discharge. Piggyback Ride brings us into a wavering and unhealthy yet very danceable chamber of depravity.
Energetic, odd and straightforward, the track is divided into two different sections acting as trauma resolving pieces of cake. Radical Jazz starts the B side with ruthless energy, delivering a noteworthy slap dipped in lunatic infringement. A not so sorry, carnal bassline, that hits you in the guts, right where it belongs. Techno with a lack of boundaries. Last but not least, Atomic moog’s proficiency in making deep and spaced out techno acts as leverage for the record. A breath of fresh-air, dedicated to the after-hours. Solid, dubbed-out and delectable piece of equipment. Black and clear “split effect” vinyl, each record is unique !”

For a final time, accompanied by her musicians, Cesária’s voice sweeps us away on yet another voyage of nostalgia. Entitled Mãe Carinhosa, meaning “Mother Tenderness”, this was the very last album by the Queen of Morna that was released posthumously. It includes 13 unused tracks, covering a period that goes from the recording sessions of the album Cabo Verde in 1997 to those of Rogamar in 2006.

From 1995 on, each time Cesária Évora went into the studio, her producer José da Silva got her to record more tracks than were needed for a new album. The aim was to choose a set of songs that fitted together naturally and formed a harmonious record that would delight listeners from start to finish - one of the reasons for Cesária’s commercial success. Some of the surplus tracks were left incomplete for technical reasons or because Cesária so decided. A year after her passing, this extra material was used to produce an album of 13 previously unreleased tracks, beginning with a first, unpublished version of the morna “Sentimento”, recorded in 2003.





• 180 GRAM AUDIOPHILE VINYL
• DELUXE SLEEVE WITH GLOSS LAMINATE FINISH
• INCLUDES INSERT WITH LYRICS
• CESÁRIA ÉVORA’S POSTHUMOUS ALBUM
• AVAILABLE ON VINYL FOR THE FIRST TIME
• 10TH ANNIVERSARY EDITION OF 1000
INDIVIDUALLY NUMBERED COPIES ON BLUE
& RED MARBLED VINYL



SIDE A
1. Sentimento
2. Tchon de França
3. Mãe Carinhosa
4. Dor Di Sodade
5. Talvez
6. Dos Palavras

To celebrate its 10th anniversary, Mãe Carinhosa is available on vinyl for the very first time as a limited edition of 1000 individually numbered copies on blue & red marbled vinyl.

Dry_Feel is the personal project of the Greek label founder Dystatik, encompassing various types of experimental and darkwave music.

This is what you will find in his vinyl debut, which includes a collaboration with Fluora. You can expect extremely fresh minimal synth, synthwave, EBM, dark elektro, and new beat tracks, all created with a dancefloor riot in mind.. Presented in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The Magic of Boney M (Special Remix Edition)' LP includes the very best of one of the 70's biggest pop acts. From the mega hits 'Daddy Cool' and 'Rivers Of Babylon' to the back in vogue 'Rasputin' which went viral on TikTok in 2021 becoming the 2nd most popular catalogue track on the platform last year after the meme generation rebooted the disco classic. This double vinyl version (one LP is translucent pink and one is translucent blue) release also features stunning new remixes from LIZOT and Majestic. Promo/marketing activity. Limited pressing/stock may need to be allocated.

LA threesome ASHRR aka lead vocalist Steven Davis and producer-musician-vocalists Josh Charles and Ethan Allen are back with a brilliant new album for Ralph Lawson's superb 20/20 Vision Recordings that finds them working by the old mantra of 'art for art's sake'. This effortlessly eclectic record collides electronic soul, post-punk, space disco and indie-dance and is rich in melancholic melody, hazy, late-summer moods and late-night dancing. The vocals bring an indie edge to jangling delights like 'Please Don't Stop The Rain' while 'What's Been Turning You On' is a laidback and languid groove for lazy sessions.

Dr Packer and Michael Gray have teamed up to create a fresh, new rendition of the 80’s funk and soul hit “Ricochet” by the BB&Q Band. Staying true to the original 80s version, which was produced by Kae Williams Jr. under the mentorship of the legendary Jimmy Jam & Terry Lewis, this collaboration preserves the song’s integrity while infusing it with a modern edge. The beats are crisp, the groove is infectious, and the bassline exudes funky vibes. With the addition of staccato strings, the resulting disco house jam is nothing short of sensational.

Live At the Opera House ist die allererste vollständige Veröffentlichung von Sylvesters legendärem Konzert
im San Francisco War Memorial Opera House aus dem Jahr 1979, das bisher nur als stark bearbeitete
Ausschnitte erhältlich war. Das Album enthält 13 ungeschnittene Songs aus dem Konzert sowie eine Aufnahme der Zeremonie in der Mitte des Konzerts, bei der Sylvester der Schlüssel zu San Francisco überreicht
wurde. Das Ganze gipfelt in über einer Stunde bisher unveröffentlichter Musik und einer Gesamtlaufzeit
von über 2 Stunden.

'In `All This and So Much More' Tasha is an artist flung open. For Tasha, the last few years have been propulsive, dynamic, bursting at the seams. They've included painful encounters with grief; a sudden break up; new flirtation; new hair; the glitter of world travel and not least, a role in Tony-nominated Broadway musical `Illinoise' which adapts Sufjan Steven's `Illinois' for the stage. If `Tell Me What You Miss The Most' was an introspective meditation on love with a few moments of glancing toward what's next, `All this and So Much More' is Tasha turned outward, flourishing, telling us what it's like to take life by the chin and look it in the eye. Take, for example "Eric Song." This was the first song to be written on the album, penned while Tasha grappled with the sudden, tragic death of Eric Littman, the co-producer of her last album. Though the instrumentation is a familiar 3/4 guitar strum, lulling us into a comforting waltz, Tasha's voice is breathy with grief, adding depth and dimension to the hushed sound. "No, I'm not alone after all / You must be near / Facing this soaring sprawl," she sings, transforming the experience of loss into a talisman of love and courage meant to help usher in a new self. Said a different way, `All This and So Much More' is a full-throated ode to all of the ups and downs of becoming. In the opening track, "Pretend," when Tasha sings about "feelings outgrowing this little life," we get the sense, both lyrically and sonically, of someone in the throes of growth. This is an album crafted with a big, ambitious sound (in part, thanks to the production of Gregory Uhlmann)_cinematic droning, orchestral woodwinds, dazzling arrays of jangling guitar, all lining up to capture a sweeping moment in Tasha's life. Written over the course of 2022 and 2023, right on the cusp of Tasha being cast in Illinoise, the songs in this album invoke friendship, heart ache, flirtation, doubt. From the social anxiety of "Party" ("Do they think I'm funny? / Did they like my jokes last night?") to the questing for meaning in "So Much More," Tasha brings us along on a journey of finding out that the person you wanted to be was inside of yourself, just waiting to bloom all along. She sums it up neatly in her final track, "Love's Changing," charging us with a brilliant, sweeping vision of the future, singing: "Suddenly the world is bigger than it ever felt before / Feel the weight of my future sinking in / See the joy I'm running toward." In `All This and So Much More,' Tasha asks us to consider abundance in its truest form. Our lives, a deluge of possible experience if only we will surrender to it, all the way from the citric ache of heartbreak to the chest bloom of new adventure.

'In `All This and So Much More' Tasha is an artist flung open. For Tasha, the last few years have been propulsive, dynamic, bursting at the seams. They've included painful encounters with grief; a sudden break up; new flirtation; new hair; the glitter of world travel and not least, a role in Tony-nominated Broadway musical `Illinoise' which adapts Sufjan Steven's `Illinois' for the stage. If `Tell Me What You Miss The Most' was an introspective meditation on love with a few moments of glancing toward what's next, `All this and So Much More' is Tasha turned outward, flourishing, telling us what it's like to take life by the chin and look it in the eye. Take, for example "Eric Song." This was the first song to be written on the album, penned while Tasha grappled with the sudden, tragic death of Eric Littman, the co-producer of her last album. Though the instrumentation is a familiar 3/4 guitar strum, lulling us into a comforting waltz, Tasha's voice is breathy with grief, adding depth and dimension to the hushed sound. "No, I'm not alone after all / You must be near / Facing this soaring sprawl," she sings, transforming the experience of loss into a talisman of love and courage meant to help usher in a new self. Said a different way, `All This and So Much More' is a full-throated ode to all of the ups and downs of becoming. In the opening track, "Pretend," when Tasha sings about "feelings outgrowing this little life," we get the sense, both lyrically and sonically, of someone in the throes of growth. This is an album crafted with a big, ambitious sound (in part, thanks to the production of Gregory Uhlmann)_cinematic droning, orchestral woodwinds, dazzling arrays of jangling guitar, all lining up to capture a sweeping moment in Tasha's life. Written over the course of 2022 and 2023, right on the cusp of Tasha being cast in Illinoise, the songs in this album invoke friendship, heart ache, flirtation, doubt. From the social anxiety of "Party" ("Do they think I'm funny? / Did they like my jokes last night?") to the questing for meaning in "So Much More," Tasha brings us along on a journey of finding out that the person you wanted to be was inside of yourself, just waiting to bloom all along. She sums it up neatly in her final track, "Love's Changing," charging us with a brilliant, sweeping vision of the future, singing: "Suddenly the world is bigger than it ever felt before / Feel the weight of my future sinking in / See the joy I'm running toward." In `All This and So Much More,' Tasha asks us to consider abundance in its truest form. Our lives, a deluge of possible experience if only we will surrender to it, all the way from the citric ache of heartbreak to the chest bloom of new adventure.

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

We can't hide the fact that we're a Manchester label with some very strong feelings for the Red side of the city. Regardless of your tribal affiliation - whether you have one or not - Edric Connor's "Manchester United Calypso" is an undisputedly joyous, soulful classic. Like the bunch of bouncing Busby Babes the song sought to raise up, it's remarkable, stylish and profoundly memorable; and its magical legacy has only grown in the 70 years since it first surfaced.




A testament to its enduring brilliance, "Manchester United Calypso" is heard to this day on the terraces of Old Trafford and beyond. However, it's impossible to find a copy of the original 78rpm shellac release or, indeed, the 45rpm vinyl. So, we're delighted to reissue this unforgettable anthem - with Lord Kitchener's equally dazzling "Manchester Football Double" on the B-Side - and make it available on 7" vinyl to United fans of any vintage; as well as fans of vintage calypso fire! Featuring typically striking, specially commissioned artwork from the legendary Stan Chow, this record is a collectors item for the ages.


"Manchester,
Manchester United
A bunch of bouncing "Busby Babes",

They deserve to be knighted

If ever they're playing in your town,

You must get to that football ground

Take a lesson come to see,

Football taught by Matt Busby

Manchester,

Manchester United"



Whether you have United in your heart or not, "Manchester United Calypso" is a record that, like the best football teams in Old Trafford's history, swaggers with an addictive beauty that's impossible to ignore.
It's impossible to discuss the significance of the calypso without remembering what ultimately ripped through the heart of this most beloved youthful side.
Eight of the Babes who were celebrated in the Calypso tragically lost their lives on 6th February 1958 in the Munich air disaster.
Like the players and the club itself, the United calypso radiates a special type of magic and speaks to the spirit of United:
the demand to be fearless, unrelenting, creative and obliged to entertain the viewing public.



The Calypso was written by Eric Watterson and Ken Jones and sung by Edric Connor, who moved to England from Trinidad in 1944.
Connor is considered a pioneer, popularising calypso music, becoming the first black actor to perform with the Royal Shakespeare Company, setting up the Afro-Asian Caribbean Agency to represent Black and minority artists with his wife, Pearl and establishing a theatre workshop.
“I would think coming to this country right after the war, as Edric did, and getting into BBC radio, and moving among the people, he did a great deal of good for our own community,” Pearl once revealed.
He saw himself as a self-appointed ambassador for his country, Trinidad. We were very nationalistic back then. We believed we had a country worthy of recognition”.



The B-Side is another doozy.
Swoon along to Lord Kitchener's fantastically woozy "Manchester Football Double" - a fitting ode to the city where you'll "find football's headquarters".


Then and, after the 2024 FA Cup Final, now.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 7" well and truly soars.

The immaculate Record Industry pressing will ensure this sought-after gem finds a home in many more collections, from Manchester to Malta, Mumbai to Malaysia.

Permanent Parts is the second album released by visual artist Katharina Grosse (synthesizer) and musician Stefan Schneider (synthesizer; So Sner, To Rococo Rot). Grosse and Schneider were joined at Galerie Max Hetzler on 29 April 2023, performing as part of the Spectrum without Traces exhibition, by three artists who all generally work within improvised music – Carina Khorkhordina (trumpet), Tintin Patrone (trombone and electronics), and Billy Roisz (noise generator, piezo and mini cymbal). Permanent Parts is an extraordinary set of recordings that inhabits multiple zones at once: within its thirty-five minutes, we can hear the interactions of non-idiomatic collective music making, and the electronic glimmers of electro-acoustics, while, at the same time, the music remains untethered to genre.

This capacity to work within liminal zones makes perfect sense when thinking about both Grosse’s and Schneider’s prior work, whether the energetic diffusions and spatial explorations of Grosse’s artistic practice, or the slippery texturology of Schneider’s recent work with electronics. Khorkhordina, Patrone and Roisz all find their own ways into this dynamic, too, and Permanent Parts feels like an equal exchange of presence and contribution; there are no hierarchies here. This might explain the music’s curious sense of development, where several elements are allowed to exist alongside each other, not in direct contact but in a mode that’s somewhere between carefree layering and unconscious juxtaposition. The musicians are listening, but not just with their ears – their skin, their bodies are hearing, too.

When talking about Permanent Parts, Schneider is careful to place it within contexts that are specific, to some degree, but which allow for difference to blossom. “Although it was recorded live, it somehow was not meant to be a documentation of a live event in the first place. The five piece line up that appears on the record had met for the first time only a few hours before the concert took place.” While it might take a leap of faith for all parties to walk together, and so willingly, into a place of such freedom, of such risk, there is clear sympathy here between the musicians, and a shared appreciation of the immediacies of the situation.

It also throws some of our preconceptions about this music out of the window. “The record does not feel like a document of a performance as the music was not pre-composed and there was no reference,” Schneider continues. “Perhaps it was not even an improvisation?” For Grosse, her musical relationship with Schneider similarly shakes free from expectation: “My sound does not exist without Stefan’s. It is neither written down nor is it improvised. It is instantaneous.” When thinking about the five-piece exploration on Permanent Parts and asked to expand on what each musician brings to the table, she continues, “We all love the thrill of an unknown encounter and we seem to have a need for building connections through the thicket of our voices.”

There’s a curious phrase on the back cover of the album, before the artists are listed: “Wir sind eine Batterie / We are a battery.” This sums up the spirit of Permanent Parts. Schneider recalls that Grosse said this phrase to the musicians at the start of the performance. Grosse explains further, “The figure of the battery referred to our placement in the space building out a small circle facing one another from where the sound could spill into the impressive volume of the gallery.” The battery as an arrangement of similar devices; but I also think of charge, and the conversion of chemical energy, and of fortification. It’s a poetic metaphor that sums up much of the febrile pleasure of the music contained on these Permanent Parts.

– Jon Dale, Melbourne

Mystic, member of the legendary rap collective Digital Underground, is releasing her 3rd album Dreaming In Cursive: The Girl Who Loved Sparklers on Vinyl. She is most known for her classic Cuts For Luck and Scars for Freedom which was released on vinyl last year. This new album find a return to her roots working with long time collaborator Walt Liquor to create the sonic landscape she's most known for. There was a crowd-sourcing campaign to create the visuals for this project that was successful and from it came three visuals that will be the foundation for a short film released this summer called A Black Love Trilogy. This project is the healing balm the world needs in these trying times.
GRAMMY-nominated rapper, singer, and Bay Area legend Mystic (affectionately known as the “DU Goddess of Digital Underground”) has returned to bless the world with a new album like only she can. "Dreaming In Cursive: The Girl Who Loved Sparklers" is Mystic’s first new release from her label, Beautifull Soundworks, and is produced by herself and Walt Liquor. With song and voice that resonates with the beauty of unadulterated womanhood, Mystic’s new album is what she coined, “Healed Black woman music.” As a seasoned veteran in the music business, Mystic reminds us of her ability to seamlessly weave together harmonies and vivid lyrics that invoke thoughts of love, community, and healing. Always on time with her offerings, this new project warms the soul as only Mystic can—a perfect reminder to long-time fans of their love for her and a welcoming invitation to music lovers around the world looking for high-quality, meaningful, and banging music at once.
Quote: “I am known for moving in between the intersections of trauma and healing--the beauty and the pain. My healing journey and life journey have brought me to a place where the art reflects my level of healing and the knowledge, wisdom, and joy I passionately pursue. My fans have healed and grown with me, and I look forward to the joy and conversations this album will encourage.”

Ever-evolving the mythologies and magic of Dialect's sonic sphere, Andrew PM Hunt returns with Atlas of Green, elegantly molding unexacting details of memory and mistranslation into the framework of the British musician and composer's creative pursuit. The album imagines a young musician named Green working in a future dawning era where lost signals and enduring impulses are unearthed from the sediments of technology and time. Across twelve compositions, Green becomes the compass in an epoch of transition; one shaded with pastoral patinas and studded with the fragments of allegorical ruin. As tattered as it is tender, Atlas of Green is a patchwork of scavenged relics and bygone hues, cast through the iridescent shimmers of a mid-future in flux. Growing up on the Wirral Peninsula in North West England, Hunt was surrounded by stone age landmarks and rock carvings that infused the landscape with legend. It was beside those carvings on a residency at Bidston Artistic Research Center where he began the journey of Atlas of Green, experimenting with tape loops and exploring the center's library of sci-fi. Here Hunt also encountered the work of Italian philosopher Federico Campagna, a writer who believes we're at the end of our current world. This encouraged Hunt's exploration of how the fabric and fantasies of our current era might endure into the future of Green, as they try to make sense of the riddles of the past, utilizing broken electronics and simple acoustic instruments to create new mythic forms. This question of endurance led Hunt to inscribe Atlas of Green with its own lucid markings - sometimes almost anthemic adornments - which unfurl through the album's melancholic air as possible new metaphors for how the human spirit might persist through dark days and regain lost wisdom. As Hunt reflects, "We're not just on an endless procession through constantly better worlds. Our lack of action (on climate and inequality) feels hopeless at times. I find some comfort in the idea that maybe the world needs a new song in order to tell a new story about itself". The image of Green as a journeying adolescent in-between eras developed out of a burgeoning interest in the fantasy writing of Ursula K. Le Guin and Gene Wolfe and occurred at a point in Hunt's life where the question of starting a family was looming. Green became a device for thinking about the future, or futures, putting someone in another world and granting access to a slightly longer timeframe than one's own life. What would this person, in this as-yet-unsung world do with something as powerful as music? As Hunt notes, "I imagined them doing what we've always done with music - using it to build a map of feeling, providing boundaries and tracing the edges of our emotions, defining a space of possibility and giving voice to our intuition. This is an alternative future to the one of endless growth but one which still holds space for hopes and dreams." Mapping new folds in the passage of time, Atlas of Green is traced with an aura of sonic urgency which arises through its process-led construction. Following a series of live shows in early 2023, the record was created with an assemblage of analogue electronics and acoustic instruments, including scratched records and a broken four track, collaging studio work with recorded live recordings featuring work in progress. Where the indeterminate energies of Under~Between (2021) appeared through digital processing, Atlas of Green embraces chance encounters within the malfunctions of physical media and glitching gear. Within these interwoven clusters of organic and blemished sound, Dialect reclaims the joyfulness of the inner amateur and creates a soft landing for new seeds of magical possibility - rooted in the bounds and abundance of realism. "As a planet of people we have to deal one way or another with our finite existence. We have to deal with that loss with hope still in our hearts - our capacity to love cannot be contingent on things lasting forever, and so this image of Green is not a vision of dystopia, nor utopia but an expression of trust and an acceptance of limits."

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Limited Gatefold LP version on 180g transparent vinyl, with 4-page lyrics booklet (777x) Tusmorke, arguably the most atavistically trollish, acid-drenched musical act ever to come out of the kingdom of Norway makes yet another eternal return, this time to take the fellow traveller on a subterranean expedition to the kingdom of the Fair Folk! Dawn of Oberon is the band's 12th album, released 12 years after their debut "Underjordisk Tusmorke" (2012). 12-12-12 - That makes this album twice as occult as 666. The band says: "This record is a testament of a tumultuous time. We had a new drummer, Kusken, and keyboard player, Herjekongen, in 2022 and immediately started working on the epic Dawn of Oberon. This behemoth had been wallowing about since the start of the millenium, never quite finding its shape and form. We thought of this as a trial by fire to galvanize the new members. During jams at rehearsals and concerts, new themes emerged, resulting in a sort of sequel in the form of Dusk of Tawblerawn part 1-5. Kusken decided to quit after just 8 months but agreed to document the time we had spent together. All the music was recorded in our rehearsal space and studio in 2022-2023. The record is a manifestation of our Peter Pan syndrome; our aesthetics and ideals remain unchanged for the last 25 years. Never grow up, just grow old. This time we go away with the fairies all together, to the far-away land of the far-out mind.

"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian

Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.

In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
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Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”

She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”

Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.

Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."

Rhetoric & Terror is Berlin-based Hemphill’s second album since leaving Liars back in 2016.

No stranger to reinventing his approach towards composition, Rhetoric & Terror feels like we are – perhaps for the first time – opening a doorway into Hemphill’s personal life, to his disparate sonic influences, his wide-ranging journeys through philosophy, and his own reflections on his role as an artist.

Like different thoughts and feelings emerging in a state of meditation, Hemphill invites you to pause on one ‘scene’ for a moment before moving onto the next. There’s space to get lost here – both emotionally and in the colour of the album’s wide-ranging textures.

With his wife Angelika Kaswalder on vocals throughout the album and multi-instrumentalist Morgan Henderson – a longtime friend of Hemphill’s since Henderson’s time in the post- hardcore band The Blood Brothers - adding woodwind, Nonpareils is no longer simply a solo project – and it’s apparent in this openness.

The name of the album – Rhetoric & Terror – describes this split that Hemphill is making from the conceptual nature of his first solo album (2018’s Scented Pictures), and the new direction that he – perhaps – hopes to continue taking. The title comes from a chapter in Giorgio Agamben’s book, “The Man Without Content”, where he describes the concepts of rhetoric and terror to describe two different types of writers: the rhetorician and the terrorist. The terrorist is a misologist who is only into the feeling; the rhetorician is committed to logic and form.

“With Rhetoric & Terror, I wanted to start with emotions and feeling. I was playing with my kids, listening to Cocteau Twins, I have a wonderful partner, and it seemed very contrary to any sort of growth to sequester myself from this life in order to get into character as a musician. Instead, I tried to remove the boundaries between my creative life and my. responsibilities and have it all be one fluid thing. All things at all times, and trust that this will guide my music rather than more intellectual concepts or limitations.”

Despite its catalysts being in philosophy and conceptual art, Hemphill has created an album that’s deeply “emotionally available”. It’s also helped him take a new stance on life that combines his life as a partner and parent in a kind of unity with his role as the artist. It’s plain to hear as a listener – Rhetoric & Terror, despite its intimidating name, is welcoming
and playful, even during its most intense moments.

Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’ in random-colour reground vinyl. “Lewis’s catchiest and finest album” - (Grade: A) Vice. Blang Records are thrilled to announce they’ll be bringing the wild streets of Manhattan to the UK and Europe this autumn with the vinyl re-release of Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’. The LP sold out of its first pressing and has been impossible to buy anywhere for years…until now. Out on exclusive Random Mix Colour Reground EcoVinyl in record shops from 20th September. Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang, it feels fitting that tour support comes from UK antifolk linchpins, Blang Records mainstay, and arguably one of the UKs most criminally underrated bands, David Cronenberg’s Wife (“A mix of 80’s fall and the Velvet Underground” - NME). Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan’s Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more. ‘Manhattan’ was mixed by John Agnello (Dinosaur Jr., Phosphorescent, War On Drugs) and recorded by Brian Speaker at SpeakerSonic Studios NY, produced by Brian Speaker and Jeffrey Lewis. “We’ve been fans of Jeffrey Lewis since seeing him at the Sidewalk Cafe in 2001, so we’re really really pleased to be really-re-releasing the excellent album ‘Manhattan’ just in time for his September UK Tour. This all started when Jeffrey asked for help looking after his merch after his UK tour finished last year and we said we’d help him press some records in Europe from a UK address as the postage costs from the US were way too much. This ultimately led to us re-releasing his classic album (and respectful nod to Lou Reed's New York) ‘Manhattan’. It's beyond a dream come true. Blang is the home of fantastic lyricists and that's exactly what Jeffrey is - this is a perfect fit.” - Blang Records. “Jeffrey Lewis is an amazing musician, and if you don’t know his songs you probably have a hole in your heart that can only be filled by his words… I did!” – Regina Spektor. “Jeffrey is the best pure songwriter I know of… ‘Sad Screaming Old Man’… is one of my favourite songs ever written.” – David Berman, Silver Jews. Tour Dates: Jeffrey Lewis & The Voltage, w/ support from David Cronenberg’s Wife - Aug 29th Hertford – Corn Exchange, 30th Coventry – The Tin Music & Arts, Sept 1st Stockton-on-Tees – Georgian Theatre, 2nd York – The Crescent, 3rd Stirling, Scotland – The Tolbooth, 4th Birkenhead – Future Yard, 5th !SOLD OUT! – Halifax – The Grayston Unity, 6th Norwich – Norwich Arts Centre, 7th Northampton – The Black Prince, 8th Carmarthen – CWRW, 9th Nottingham – The Old Cold Store, 10th Southampton – The Joiners Arms, 11th Hastings – The Pig // Jeffrey Lewis solo: 12th London – West Hampstead Arts Center, 13th London – West Hampstead Arts Center

"‘Bursting Out’ 3LP breakout of Jethro Tull’s first live album ‘Bursting Out’, from ‘Bursting Out (The Inflated Edition)’ featuring tracks released months prior in the 3CD+3DVD expanded edition, newly remixed by the legendary Steven Wilson. This version will be released 20th September 2024.

This live album was recorded at various locations during the European Heavy Horses tour in May and June 1978. In addition to the original tracklisting, this 3LP features various Madison Square Garden live performances.

Jethro Tull’s Ian Anderson said: “A live extravaganza from the 70s Jethro Tull, this was recorded over several nights in different venues on a portable 8-track tape recorder and transferred to 2” multitrack when I got home after the tours. I had to listen all through to many shows and pick the best live versions. But much of it was, at least, from the concert in Bern, Switzerland where dear Claude Nobs came to introduce the band in his inimitable style. Also featuring on this box set collection is the live concert from Madison Square Gardens recorded a few months later and shown live on BBC TV in the UK. A scary experience for the band as it was, we were told, the first time a live rock concert had been the subject of a live satellite broadcast. The band lineup at this time was a fine-tuned machine and, although missing the unwell John Glascock for the MSG show, it serves as a fine testimony for the many wonderful shows we did in the 70s, before general touring fatigue and burn-out began a year or so later. Enjoy vintage Tull at its 70s best!”"

The unconscious and unknown must be really nice places. In any case, if you take the second album of Menelaos Tomasides under his given name as travelogue. A trip into dreamlike territory, yet concrete enough, a journey without target yet looking forward and looking back into familiar places, „dreamhike“ both continues and departs from the style Menelaos has found earlier, in “When the Moon Comes Through”, or his more conceptual-intentional “31 Minuten” works. As the album title - which roughly translates to “dream hiking” but also hints on “walkabout” and “songlines” – suggests, we are rambling between the real and the imaginary. From the bucolic border triangle of Belgium, Germany, and the Netherlands to the buzzing streets of the capital of Cyprus, where Menelaos has lived for many years, the tracks are about real places, about real experiences and emotions yet interwoven with a dreamlike fabric. Something that is just not tangible, yet substantial and palpable. Something concrete that manifests in the genuine and special sound design of this records - basically all of Menelaos’ works - his really special treatment of dynamics and loudness. It is one of the very few records where the established language of music making, specifically Techno, House, Dub, and early 2000’ Electronica, the clicks, thumps and plops from an earlier age of electronic music, transmogrify into slow movements of something new. Something that is gentle and truly personal, looking inwards. There are four-to-the-floor beats, there is wobbly bass, and dubby chords, even sublimated clarion calls. There is an immense energy in these tracks, the sheer materiality of low frequencies of a massive sound system manifested in a tiny room. Yet it is without any aggression, stripped bare of sonic pressure. It is quiet music no matter how high you turn up the volume. A rare treat, that requires exceptional skills and exceptional restraint and control on the technical side of music making. Probably it is a result of Menelaos specific combination of instinctual, intuitive approach to making music, which meets a genuine love for sound in seemingly endless loops of refinement that can lead to such a result as „dreamhike“. The elegant floating balance of control and playful experimentation manifests for example in a track that continues the ongoing collaboration with seasoned Cologne improviser Achim Fink on bass trumpet. Not only in this respect, the album can be described as a product of openness. It comes from a lot of taking in the world, of travel, of places and people met, of friendship and conversation (not necessarily with words). The deep trip of “dreamhike” further manifests Menelaos as one of the truly independent voices of electronic Cologne and beyond. Somewhat alike in character and attitude probably to what late Pete Namlook has established for Frankfurt with his label Fax +49-69/450464 (though ultimately warmer and much less uncanny) Menelaos has found his very own sound and vision. Music that answers to no one but speaks to everyone. Uncompromising yet gentle to the core: kind sounds from a kind spirit, arguably the most extraordinary and valuable quality music can have these days.