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Six years after the group's suicide on stage at the Olympia, Masto and Fanfan (sax and vocals) reunite to compile 25 tracks taken from cassette recordings of their concerts between 1984 and 1989.

Performing in squats, neighbourhood houses and major concert halls across Europe, in sometimes chaotic conditions but always with a crazy atmosphere, "Carnaval des agités" bears witness to the joyous mayhem and raging energy that was the Bérurier Noir odyssey.

Now available for the first time on vinyl (gatefold sleeve, two discs, split red and black finish), with 4 bonus tracks from the 1995 promo maxi-single.

Waxwork Records in collaboration with Walt Disney Records announce the pre-order for the highly anticipated Star Wars Jedi: Survivor Original Video Game Soundtrack vinyl album. Composed by Stephen Barton and Gordy Haab, this 2xLP vinyl edition is set for release on February 2, 2024, offering fans an immersive musical experience from the acclaimed video game.

The soundtrack, comprised of 27 tracks, is pressed on 150-gram colored vinyl and presented in heavyweight gatefold jackets with a matte satin coating. To enhance the collector's experience, the vinyl will be accompanied by an 11” x 11” four-page booklet, providing a glimpse into the creative process behind the mesmerizing score.

Star Wars Jedi: Survivor received a GRAMMY® nomination in the Best Score Soundtrack for Video Games and Other Interactive Media category. This marks the first GRAMMY® nomination for composers Stephen Barton and Gordy Haab. The album is produced by Nick Laviers, Stephen Barton, Gordy Haab, Alan Meyerson, and Steve Schnur.

About Star Wars Jedi: Survivor

Star Wars Jedi: Survivor continues the story of Cal Kestis. This narratively driven, single player title picks up five years after the events of Star Wars Jedi: Fallen Order and follows Cal’s increasingly desperate fight as the galaxy descends further into darkness.

Dog Eat Dog is an American band founded in Bergen County, New Jersey. All Boro Kings is their first full-length album, released in 1994. It is the first time they brought their trademark saxophone sound to the foreground on singles like “If These Are Good Times, “Who’s The King” and “No Fronts”, of which the latter two became their biggest hits and received heavy rotation on MTV. The band were even voted Breakthrough Artists of the Year at the MTV Europe Music Awards. Dog Eat Dog became highly popular, especially in Europe, where they played large festivals and arena-sized shows. The songs released from All Boro Kings also charted on Europe's top forty heavy metal charts.

The album is available as a limited edition of 2000 individually numbered copies on gold coloured vinyl, and contains an insert.

What a collection of talent on this rarity from the Brunswick label— production by disco maestro Tony Valor, arrangements by Chi-Soul legend Eugene Record, and mix by the great Tom Moulton. Not to mention instrumental accompaniment from Valor’s highly esteemed Tony Valor Sounds Orchestra...no wonder this 1976 release is deemed a stone-cold proto-disco classic across the globe (it’s been reissued on CD in Japan multiple times).

For its first vinyl reissue, we’re giving it the Real Gone treatment, with a new remastering for vinyl by Mike Milchner at Sonic Vision, and a clear with blue, green, and pink swirl (to match the cover art) pressing limited to 900 copies (note: check out the version of the Chi-Lites’ “Stoned Out of My Mind” for instant soul salvation).

You’d think a guy like Butch Walker (producer/ writer for such artists as Pink, Fall Out Boy, Avril Lavigne, Weezer, Green Day, Katy Perry, and Taylor Swift) wouldn’t be particularly unlucky in love, but on Readysexgo the torture never stops, as Butch recounts one failed affair after another in exquisitely painful detail. All set to Marvelous 3’s never less than hooky power pop/glam metal stylings, often placed in seamless segues from one song to another...Readysexgo is the catchy soundtrack to the love life of a hopeless but somewhat embittered romantic. We worked with the band to create a special Expanded Edition for the album’s first-ever vinyl release at music retail, adding the non-LP side “Fastboat” plus two covers from the album sessions, one of Naked Eyes’ “Always Something There to Remind Me,” and one of Steely Dan’s “Reelin’ in the Years,” which ended up in the Jim Carrey flick Me, Myself and Irene. And after looking at the red, white, and blue artwork (faithfully reproduced here on a gatefold album jacket with lyrics), we figured if you blend those all together, you get purple, so purple vinyl it is for this 2-LP set!

4 10 is the fourth full length album from Superlynx, recorded in 2022 and released in September 2023 as they celebrate their 10th anniversary as a band.

Jamming has always been important to Superlynx in addition to songwriting. This time all the music on the album was created through jamming sessions where the music that came out of it lead the way and turned into these songs.

The focus on 4 10 is imagination, dreams, connection and an open view. Here Superlynx further explores fuzzed out heavy psych, improvisation and the depths of dreams and surrelism.

Remotif offers up a disc of pure euphoria on London label GODDEZZ, featuring four original tracks of trance-futurism crafted for peak time club elevation. Boasting an illustrious tapestry of prior releases on labels such as All My Thoughts, Coymix, air miles, X-Kalay and Space Lab, here Remotif presents a record that takes a deep dive into the cherished producers current sonic universe; driving guttural basslines, glistening piano breakdowns and crystallized drum patterns all distilled into four perfect gems of the most uplifting rave material.

Close Your Eyes And Count To One...

“The Missing Boys” is a film born from the need to tell the story of the emergence and affirmation of a forgotten music scene, like much of the youth movement that spread in metropolitan areas as well as in the provinces more than forty years ago, dealing with the same critical issues of everywhere. It’s a story of mostly unknown bands, who from Sardinia, especially from Cagliari and Sassari, interrupt the blissful isolation of an island, only apparently distant from that revolution that ignited wherever there was a stage and a power socket. The birth of a path that began with punk and quickly transformed into a magmatic picture where research, experimentation, sound subversions and slivers of darkness, shape a multifaceted and unique scene in balance between affinities and divergences with its whole surroundings. The examined period between 1979 and 1989 marks a seminal decade, a ten years time-frame linked to an indelible generational transition, like an imaginary journey “from the ants to the clouds”, an invisible thread suspended between those kids and their great dream. This album contains music from a vibrant and uncompromising season, just like all that cannot be recognized as industrial product and maintains an independent spirit. (Davide Catinari)

The Madlib Invazion Music Library Series Entry #7: Composer, producer & arranger Mario Luciano and vocalist Lauren Santi of Polyphonic Music Library deliver a collection of recordings that delve into Psychedelic Jazz, Experimental Soul & Cosmic Fusion. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

Pianist und Komponist Vijay Iyer legt nach Uneasy aus dem Jahr 2021 – dem ersten Album seines Trios mit Bassistin Linda May Han Oh und Schlagzeuger Tyshawn Sorey – mit Compassion ein weiteres Album mit diesen beiden begnadeten Musikern vor. Die New York Times hob die besonderen Qualitäten dieser Gruppe hervor und verwies auf die Fähigkeit des Trios, ”mit besonderer Elastizität und einer strahlenden Klarheit zu spielen... und gleichzeitig eine Art von sich windender innerer Spannung zu schüren. Entscheidend für dieses Gleichgewicht ist ihre fast telepathische Kommunikation untereinander”. Compassion, Iyers achte Veröffentlichung bei ECM, setzt sein Bestreben fort, neues Terrain zu erkunden und dabei gleichzeitig auf seine Vorbilder zu verweisen, von denen zwei schon lange mit dem Label verbunden sind. Das Album enthält eine lyrische Hommage an Chick Corea, dessen Interpretation von Stevie Wonders „Overjoyed” Vijay sich als Ausgangspunkt vorknöpft. Eine weitere Hommage ist ”Nonaah”, ein wirbelndes Stück des Avantgarde-Vorreiters Roscoe Mitchell, der ein wichtiger Mentor des Pianisten ist. Dann wären da natürlich noch Iyers eigene melodisch verführerische, rhythmisch belebende Kompositionen, die vom nachdenklichen Titelstück bis zu den mit markanten Passagen gespickten ”Tempest” und ”Ghostrumental” reichen. Das Album wurde von Manfred Eicher und Vijay Iyer produziert.

KULA SHAKER"s new album "Natural Magick" finds the band harnessing the power to cast their most potent spell yet, incorporating blazing psychedelic sermons, raga rave-ups, stardust-coated pop pearls and mood-enhancing mantras. "This chapter in the band"s life is very much driven by live energy and that spiritual connection with the audiences which comes with it. We all agreed that the songs should be no longer than three minutes. There are no epics." (says Crispian) Reformed permanently in 2021 due to the return of keyboard wizard Jay Darlington, reuniting all four members of the band"s classic line-up for the first time since 1999.The band became UK chart-toppers with 1996"s debut album "K" and "99"s follow-up "Peasants Pigs & Astronauts" saw them push the creative envelope prior to their premature dissolution. Having made a welcome return in 2007 with the self-funded "Strangefolk", Kula Shaker have built towards the sonic summit.

The Umbrellas are four renegade romantics crafting irresistible indie pop hymns. The band's self-titled 2021 debut album became a breakout moment, winning critical praise and sparking an international tour. Follow-up LP 'Fairweather Friend' goes a step further - absorbing the sonic attack of their live shows, it balances this with studio finesse, allowing the San Francisco four-piece to become the band they've always aspired to be. It's a record overflowing with highlights. The candyfloss melodies of introductory track 'Three Cheers!' are matched to an impactful percussive punch; 'Say What You Mean' finds The Umbrellas working with total confidence, letting the song ride out to its chiming conclusion, four voices working in precision. 'When You Find Out' offers rotating notes of guitar punctuated by a vocal that pushes past angst to accept a world full of hope. A lean 10 track affair, it grasps towards beatific pop while fuelled by a sense of risk, and the precision that comes from long months on the road. Allowing their live dynamic to bleed out on tape, The Umbrellas are at once more physical and yet also more controlled on their new album. It's also a record of ambition. Taking their time over each note, the four-piece have strengthened their songwriting, adding depth and assurance while unlocking their potential. Some bonds last a lifetime - The Umbrellas are ready to capture your heart. RIYL: Orange Juice, Sarah Records, early Creation, Mary Chain, C86, Lush

Double LP on recycled & random-coloured "Re-Vinyl" Return to the unwavering wild in Downpour, where you explore new, harsh lands and survive new predators. As time passed, the slugcat has evolved. With five variants of the species - take advantage of various skills that they possess and explore their own personal tales. Black Screen Records, Videocult and Akupara Games are excited to take you an aural journey into the strange land of "Rain World: Downpour". Two LPs pressed on recycled & random-coloured "Re-Vinyl". The soundtrack is housed in a beautiful gatefold sleeve comes with UV spot varnish. The artwork was created by Kelocitta who has also reimagined the vinyl art for "Rain World". The "Rain World: Downpour" soundtrack is a collaborative work that was made possible by James Primate, Lydia Esrig, Intikus, Ongomato, Connor "12LBS" Skidmore and Progfox. A unique piece of music and very interesting mesh of different styles that truly bring the environment of Rain World to life. It's fully enjoyable without the game itself. The songs of "Rain World: Downpour" are a treat to experience, with some themes referencing the original soundtrack, such as "Threat - Waterfront Complex" or "Reflection of the Moon", and some being whole new, entirely original tracks, such as "Breathing Hyometer", "Fragile" and "Sheer Ice Torrent". Once you've experienced the "Rain World" soundtrack and gotten a feel for the style of the artists who worked on the music, "Rain World: Downpour" is an amazing continuation to experience next.

Dropping full Sweat EP with a very Chillout Mix by the mighty Locked Club and groovy jacking workout by Kovyazin D! Big TIP! Errortica has been smashing it really hard lately, vibing the big room and setting up the heat level of prime time slots (just watch her legendary STVOL.TV set and you can get an idea, how sweaty it was). Utilizing her experience of early years playing in garage bands and the experience as an in-demand DJ, Errortica comes with a fresh and original approach for production on Sweat and Get Down. Break-beat, balearic, jersey and bass music, Sasha denies genre borders, and incorporates what she plays out into her own new music world. Calligraphic sampling, re-sampling, vocal recording and processing via guitar FX pedals, heavy drum programming, - the creative flow here has been also very sweaty, and so is the final result. In her own words, "a real party is a sweaty party!" ...we can only agree! Pressed on transparent blue vinyl + full cover sleeve artwork

Dazzle rolled deep. Very deep. In the 1980s, it wasn't unusual for the Milwaukee-based group to show up at various Midwest night clubs in a caravan of 30-40 cars and vans. Their live following was hard won over a career that spanned 20+ years, many line up changes, and a handful of project names. Friends, family, and fans made the journey with them weekend after weekend, a testimony to both the musical prowess of the group and the tight-knit community that they emerged from.

Donald Smith, band leader, was there the whole time - joined by many of his siblings and friends - first as founder of the Ghetto Players, a early 70's nine-piece which also included siblings Michael, Ronald, and Charles. They played hard funk in the style of early Kool and the Gang, and although they sadly left no recordings, the strength of their live act managed to catch the eye of local Milwaukee R&B music entrepreneur Cobie Joe Payne. Cobie had made a couple of records locally in the early/mid 70s as a singer, including the impossibly weird and amazing rare afro-blues-funk 45 "Sweet Thing", but had never enjoyed national success. When the Ghetto Players disbanded in the early-mid 70s, Donald soon put together a new group, C on the Funk (the 'C' referring to lead vocalist and sibling Charles), under Payne's tutelage. Sister Lorrie Smith came in as the drummer, the line-up being fleshed out by brothers David and Melvin Johnson, and friend Robert Mitchell. After a few years as a strictly live attraction, they drove to Chicago and produced a single, "In the Disco" / "A Place" for Payne's small record label Sweet Thang Records in 1980. Lacking the financial backing needed to supply the local R&B disk jockey's "promotional fees" , this single sadly languished in obscurity, gathering dust inside the local tavern jukeboxes and manilla promo envelopes that comprised Payne's DIY distribution network.

C on the Funk were traveling the Mid West extensively at this point, and making some important friends on the road. Ike Wiley Jr. of the Dazz Band/Kinsman Dazz took particular interest and the band was re-christened Dazzle, partially as a tie-in with Dazz, partially to embrace the new sounds that would distinguish the 70s disco scene from what record collectors and DJs would now refer to as the "Boogie" era. There no doubt was a stigma attached to the word "Disco" as the eighties began, and as we see in this collection C On the Funk's "In the Disco" is remixed and transformed into the psychedelic synth instrumental of Dazzle's "Disco's Out", a title which embodies both the next-step approach Smith and company were pushing for, and humorously comments on the state of black dance music in the early 1980s. The Dazzle recording, done in Chicago in 1982, updated the sound and featured an expanded line up, most notably a second synth player (Charles Washington), and a percussionist/second lead vocalist (Greg McDonald). The added synth textures and deep percussive grooves give the Dazzle recordings an elegant late night vibe that resonate just as well in a good pair of headphones as they do on the dance floor. The trance inducing cough syrup-warble of "Explain" may best exemplify this here. Sadly, a pressing flaw in the 12" halted production and promotion, and the EP and the songs within were lost to the ages. The group, having done a much better line in the live music business, followed that path instead all the way to the early 90s. --bio provided by andy noble

Daniel Land's new album, "Out of Season", is his most ambitious record to date, a series of reflections on history, memory, and post-Brexit Britain, which was inspired by his return to the landscapes of his youth – the rugged, underpopulated west coast of Somerset. The album was written and partly recorded in Daniel’s studio in a static caravan, overlooking the coast, during the period when the UK was tearing itself apart over its relationship to Europe. "I didn't set out to write about Brexit", Daniel says, "I have a kind of horror of political music. But I couldn’t escape the atmosphere of the time – this strange, distorted version of ‘Englishness’ in the national psyche. I’ve always been interested in memory and nostalgia; Brexit illustrates the dangers of taking seductive, possibly false memories at face value”. Songs like “White Chalk”, “Island of Ghosts”, and the album’s title track, represent a series of attempts to reclaim an older, more peculiar idea of England which, Daniel says has been “Lost in the nationalist mythmaking of the past decades” – the island of misfits and outsiders exemplified by the works of Derek Jarman, for example, whom Daniel was rediscovering while working on the album. “I must have read 'Modern Nature' ten times over the years”, Daniel says. “What I love about Jarman is that he had a deep, abiding love for England, but it was a very complicated, critical and a very queer kind of love. That was very much my mood, going into the making of this album”. Like Jarman’s work, "Out of Season" probes national identity whilst also displaying resolutely queer themes throughout. Daniel’s voice – once described by The Guardian as "The spawn of Elizabeth Fraser and Anthony Hegarty” – is less heavily reverbed than before, bringing to the fore his often-confessional lyrics, inspired by the frankness of modern queer poets like Andrew McMillan, Seán Hewitt, and Ocean Vuong. A lyrical highlight is the gorgeous “Southern Soul”, a deceptively straightforward recounting of a decades-old hookup with a closeted guy from his hometown which, Daniel says, “Serves as a metaphor for everything I’m talking about in the album”. And in keeping with the album’s nods to the heroes of gay literature, Daniel’s self-styling of the album as a “Dream Pop Album on National Themes” deliberately references the full title of Tony Kushner’s era-defining play "Angels in America", whose central character is namechecked in the hook-laden “Lemon Boy” – a song which must surely stand as Daniel’s most deliciously pop moment yet. Lauded by Mark Radcliffe, Guy Garvey, Tom Robinson, and many others, Daniel Land makes music that, in the words of BBC Radio 1, "You can't help but think the late John Peel would have loved".

Soul Jazz Records’ long out of print classic ‘Studio One Dub’ collection is being re-released in three new one-off limited-edition coloured pressing 18th anniversary format editions!
Firstly a heavyweight special limited edition one-pressing only orange 2xLP vinyl + download.

Secondly, there is also a new special limited-edition one-off pressing edition orange-pressed CD enclosed in jewel case and slipcase.
And thirdly there is a very limited unique new one-off pressing orange-cased cassette format (200 copies only)!
18 years on from its original release Studio One Dub remains super-hard hitting featuring classic + rare Dub tracks from Studio One, many available on vinyl for the first time in over thirty years.

Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”, John Holt’s “Hooligan”, Freddie McGregor’s “Bobby Bobylon” plus many more rare tracks.

The album also comes with two rare interviews - one with Clement 'Sir Coxsone' Dodd about dub and dubplates and one with the sound engineer Sylvan Morris, talking about his groundbreaking period at Studio One and his many innovations that he evolved there.
In short, this is a 100% essential album!





"Almighty slab of dub featuring loads of rare and classic dub versions of Studio One's foundation tracks." Rough Trade

“Quite a treat awaiting here for the unsuspecting reggae faithful – as always with Soul jazz chock full of a bunch of big tunes – but here in version form lies some of the freshest rhythms and most radical revisions of some of the greatest Studio One music. The darkest and the absolute deepest in the series – naturally essential.” Boomkat

"Continuing the Studio 1 Series this album features classic and rare Dub tracks from Studio One, many available for the first time in over thirty years. Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”,
John Holt’s “Hooligan”, Freddie McGregor’s “Bobby
Bobylon” plus many more rare tracks. In short, this is an essential album!" Wax Museum

Erupt Records has suffered its first Unrest Hazard. After keeping the lid on a beast this explosive, what did you think was going to happen?

This new series of '4 on 1' EPs from the mighty label, will showcase several of the best producers from the UK (sometimes even beyond!) breakbeat hardcore/jungle scene on 1 record, be they old or new.

The first track from Schoco (Omni Music) is "I Need". Let yourself go to wispy, dream-state synthlines over ferocious breakz.

Track 2 is a bouncy piano anthem for anybody who likes hearing the words "1993" and "happy" in the same sentence. This one is brought to you by After The Zenith. Usually resident cover artist for Erupt, this time he grabs the steering wheel and gears up to present you a bit of his own 'ardcore.

Next up is some brutality from Tactical Aspect. Need no more be said than these lads are one of Australia's finest purveyors of hardcore junglism, with a portfolio including works for Reinforced Records. But, with a recent move back to Yorkshire, and following an initiation into the West Yorkshire Jungle Collective, it only made sense for TA to deliver some unrelenting '93 style breakbeat hardcore brutality to celebrate.

The final track "When Did We Forget" is a get together from the lads at Kool FM, Code and Subbreak, with D-Region. Any time you see these names together, it commands serious respect. This is one for anybody who likes those hazy breakbeat hardcore tracks that tread a fine line between hard and euphoric.

What are you waiting for?

Erupt Records was established in 2016 to cover tougher, faster styles of electronic dance music, with a view of openness towards introducing contemporary influences alongside the familiar; Hardcore that reflects today, not yesterday. The objective? Push the boundaries, keep the drums raw, compromise for noone.

A lot of water has flown under the bridge since Błoto released their last album. Sadly, in Polish rivers it wasn't just water flowing, but also all sorts of sewage of unknown origin, which destroyed the condition of these once vibrant bodies of water; it eventually led to a real catastrophe on the Odra River, which, after all, surrounds the entire city of Wroclaw, the band's birthplace. It is time for a decisive response. Błoto is making a comeback with a seven-inch vinyl and their first singles in over two years - "Szlam" and "Ścieki".

Climate change had already led to a permanent hydrological drought, which was echoed on Erozje LP. Today, as many as 91.5 percent of Poland's rivers are in very poor condition. It is not only drought that threatens rivers, but also excessive salinity. This is precisely the kind of disaster that happened on the Odra river. It resulted in 360 tonnes of dead fish and death of the river along a stretch of almost 500 km, and the reason for that was short-sighted human activity that could have been avoided. Still, the decision was made to turn the river into a cesspool.

Two years of hiatus is far too long. During this time, reality has not let up for a moment, providing new inspiration. Szlam (eng. sludge) is the sediment that forms on the river bed and sometimes the river banks. The Polish word derives from German (Schlamm), which means swamp - or mud. Szlam is therefore a sticky and unsettling remorse that rests somewhere at the bottom of the human consciousness.

In "Szlam" and "Ścieki" tracks, you will not only hear references to Erozje, but also to Kwasy i Zasady LP. For it is also a metaphor for everything that pours out of the media, smartphones, and then flows into one's head. The constant bickering, conflicts and dirty play in political campaigns, scandals to which we are already numb. On top of this, hate speech, low-quality stupefying influencer content, resulting in an ever-decreasing cultural capital of a society that breeds conformists, individualistically-minded egoists and mindless consumers. This state of affairs spawns a society of egoists, incapable of critical reflection, questioning and rebelling against reality.

The sound and genres explored by the band are, as usual, difficult to pigeonhole. These two musical miniatures contain a lot of anxious and neurotic sounds, as well as synth glitches evoking emotions such as fear, anger, sadness and guilt. The quartet consisting of Wuja HZG, OlafSaxx, Cancer G and Latarnik managed to distill this mental state by encapsulating it in shades of breakbeat ("Szlam"), and broadly defined house music ("Ścieki").

The 7" vinyl will be released on January 08th 2024 by Astigmatic Records.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog tape Contains Otis Redding's posthumous hit "Sittin' On the Dock Of the Bay" Appeared on Rolling Stone's 500 Greatest Albums of All Time, rated 161/500! Pressed at Quality Record Pressings Gatefold old-style "tip-on" jacket by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Extremely sought after and supported by the likes of DERRICK MAY, TIMMY REGISFORD, THEO PARRISH, DANNY KRIVIT and BOO WILLIAMS, the next SJU MUZIC release GU'S JAZ COLLECTIVE's "AFRO GENTE" and "FUEGO DE SANGRE" are 2 powerful percussive modern Latin fusion classics!

Ultravillage is a collective and burgeoning community of new age music devotees, private press fanatics and underground ambient, minimal and progressive electronic aficionados. T

Mark Griffey, the man behind Ultravillage, has recently made the venture into releasing albums, with the intention of reissuing forgotten personal masterpieces of 1980s and 90s private press synth culture on new label Mid-Air Museum. MM’s first vinyl record release is a collaboration with Scottish reissue label chOOn!!.

Together, they present Accidental Music 1987-1991 by Charles Esposito, a career retrospective of the experimental composer from Martha’s Vineyard, Massachusetts. The cinematic and the sacred swirl around on Accidental Music, which gives new life to intriguing self-released tapes that Esposito put out in the 1980s and 90s. Heard by few on its original release, the music featured on this compilation ranges from Palace of Lights percussive sonics to an almost minimal techno palette, a meeting of pop and twisted electronics with the hypnotic immediacy of ancient ritual.

Accidental Music 1987-1991 develops a series of resonant harmonic spaces, by adding layers of instruments and played objects. Rather than work as acoustic maps of specific locations, these pieces eddy and gather into positive physical presences. But Esposito’s real strength lies in creating depth of field. The foreground might be dominated by glassy chimes or resonant prayer bowl-like timbres, but beyond it a series of sonic veils seems to recede towards murky imperceptibility. There’s also a kind of surreal decorum at play, passages that sound like an immaculately laid dinner table being shaken by an earth tremor while the tinkling complaints of the silver, glass and muffling linen are scrupulously recorded.

Available for the first time on vinyl, Accidental Music 1987-1991 by Charles Esposito is an exploration into
many inner worlds and dreamscapes, an analogue mirage of avant-garde gems. Produced in cooperation with the artist for Mid-Air Museum and chOOn!!.

Mastered for vinyl and digital and featuring liner notes from Mark Griffey.

Theme Ltd. is back with its fourth wave of exclusive releases, this time on one-sided 7” vinyl. Allow these tracks to guide you through their diverse production as they blend genres and tone to provide insight into their fresh production technique.

‘Everywhere’ positions the listener in a gentle mood for love. Snares snap and mix with a slightly discordant, far piano as lyrics and chords bounce off each other at a steady tempo. We are apprehended by the doleful vocals that invite us to gaze with an ‘illuminated stare’, and as we diffuse into the end of the song, a cool-aired beat breakdown leaves us in media res. A sprawl of love left everywhere. Great !

Two years after the release of his first self-titled album, DJ producer Massimo Napoli aka Galathea presents the new 'Sacred Love', in which he once again avails himself of the collaboration of his friend producer and bass player Salvo Dub, as well as a combo of respected musicians: singer Kadi Koulibaly - originally from Burkina Faso - already featured on the first album, Giulia La Rosa, author of the lyrics and performer of the title track, pianist Mario Pappalardo, percussionist Sergio Spitaleri and drummer Luciano Cantone.
'Sacred Love' is definitely a more mature, intense and profound journey than the previous album of the same name, which enhances the magical dreamlike and spiritual atmospheres of a certain African culture.
The album guides the listener along a path of multi-ethnic contaminations: "Divinité", "Ouaga" and "Koloko", well interpreted by Kadi, touch on the sacredness and mysticism of the African continent and blend well with the Spiritual Jazz sounds that have evolved in the West.
"Divinité", through the spoken word of French poet Diego Hernandez, tackles the themes of faith, life and the relationship with one's 'self', with references to French chanson productions, in which Kadi's spiritual song, at times 'Saharan', intersects and expands into cosmic space.
The title track, the first single from the album, also released on 7" (45rpm) in two versions, is an Afro-American gospel with a typically afrobeat rhythm, vaguely reminiscent of Nina Simone's 'See-Line Woman'.
North Africa is represented by "Equator", while we climb further north into the middle of the Mediterranean Sea with "Medican Blues", to land in Stromboli with the Deep Jazz of "Ginostra", whose title recalls the village of the marvellous island in the Aeolian archipelago.
Then we have the Cuban track "Caminito", a sort of Cha-Cha with a romantic piano melody (à la Chucho Valdez) well performed by maestro Mario Pappalardo; and then again "Eos", strongly Balearic with a Brazilian mood; "Impression", a dreamy journey of impact; "Sirens", already present on the first album and here reworked in a new Spiritual-Ambient version produced by Agosta.
"Sacred Love" is thus an original and musically borderless album, which expands a certain African sacred culture and naturally blends Afrobeat, Jazz and Blues atmospheres with the Balearic sounds of Mediterranean culture.
Enjoy listening!

Wonderwax returns with yet another 12″ filled with the distinctive soulfulness that has been a stand out point for the label since its inception.

DJ Spinna has been a fan of R&B/Neo-Soul queen Carmen Rodgers since her debut album 20 years ago, so it was just a matter of time before the two teamed up for something special. The result is an epic soulful house journey on Side A, where Spinna gives his typical Galactic Soul touch to Carmen’s jam “Again and Again”. The og version of the song was released originally in her “Hello Human vol. 1” EP together with “Say So”, which also gets Spinna’s twist on Side B: a progressive Hip Hop/Soul flip for the downtempo heads. Classic!

Originally recorded in 1987 at Tabansi recorded Studio & Roger All Stars and pressed by Wilfilms, Nigeria. You’ll find six tracks of drumcomputer driven lo-fi jams laced with catchy synth lines from the mind of producer Austine Onwurah, who was quite active in the 80’s.. The project with Mr. Idigo resulted in a highly addictive cosmic boogie album which includes four absolute highlights. The record starts with one of the standout cuts; Flight 505, which is a tough electro/boogie crossover with vocals and sparse vocoder on top. Followed by the heavy boogie jam ‘We Got To Love’ , that is the personal favorite and a great track for DJ’s . The magnificent A-side closes with the catchy title track, again great production with top chorus and synth hook. On the flip you’ll find the wicked digital reggae tune ‘Mystic World’ with still ever relevant lyrics that closes the LP.. There is something special about this sought after record, the way the instrumentation has been played and programmed is very groovy and musical with a certain sound to it that is unmistakably Nigerian. The synth melodies weave in the tracks with ease and layers of funky bass and guitar float on top. Music that will grow on you every time you listen to it, one of the clever wonders coming from Nigeria! Officially licensed with courtesy of the family. Carefully restored and remastered with respect to the original sound and artwork. ‘’The need to ‘Search’ has come oh’ people of the world we have taken earthly forms the wisdom of love and unity thou shall love one another for love and unity is the route of life so do I search for Love, Peace & Unity’’ – Alphonsus Idigo

Fay Hallam is a hugely respected Hammond organist, singer and songwriter.She first came to
prominence in Wolverhampton Mod-popsters, Makin' Time, in the early 1980's, along with a Martin Blunt.
She and Martin, along with drummer John Brookes, then went on to form The Gift Horses, which were the
embryonic beginnings of The Charlatans, which Martin and John then went on to form. Fay’s next project
was as the vocalist and organist in the now legendary, Prime Movers, including the 'Earth Church' LP,
which was hailed by the now-defunct Sounds Music Weekly, as LP of the year. Since then, Fay has gone
on to make over 10 albums, as Phaze, The Fay Hallam Trinity, and then as a solo artist

"The organ dates back to 1790 and was made by Venanzo Fedeli, who came from a prestigious family of organ builders. This particular organ is tuned in the ancient way at 430 Hz. Tuning relies on pure thirds that aim to create dissonances within the instrument itself.

Since the organ is an instrument modeled according to the principles of nature, the intonation of the pipes was performed according to an incompletely equal system that reflects the natural intonation based on mathematical ratios.

This produces a purer sound for the thirds but slightly harsher and more difficult to listen to. The hardness of the intervals of the organ is a metaphor for the hostile climate that prevails in the Potenza valley during winter and autumn.

The sound of the organ with the register of the flute returns a particularly sweet and penetrating sound but, at the same time, a very complex timbre with intricate harmonic texture, given the numerous fluctuations and beats. The warm tones of the organ reflect the good and welcoming sould of the people who inhabit these lands. The absence of dynamics inside the instrument allows the listener to focus and understand the harmonic texture and timbral differences between the various notes more clearly.

Trombone and trumpet played by Matteo Paggi on track 2 and 3 were recorded during a hot summer day at Elefante Bianco Studio in Rome by Matteo Scarchilli. Sax, effects and noises in track 6 played by Giulio De Asmundis and Pietro Rianna were recorded in Fauna53 studio.

Many thanks goes to Marco and Giuseppe for making this happen. Thanks Federico, Sami, Marisa, Romeo and everyone involved in this project. You know who you are."

Mastered by Alessandro Caldarola.
Photos and color grading by Filippo Corsi.
Graphic project and design by Flavio Mancini.
Vinyl pressed by AFG Record Manufacturing.

In Celtic mythology, Clota was the patron Goddess of the River Clyde. "Almost all the rivers of Scotland were abodes of goddesses, but about many of them there are no surviving stories. The goddess of the Clyde was ‘the purifying one’.. " Donald MacKenzie 'Wonder Tales from Scottish Myth and Legend' (1917) Following the warmly received 'An Garradh', and 'Tarbolton Bachelors Club', Steven Anderson (Letters From Mouse) returns to Subexotic with another emotionally inquisitive, fascinating psycho-geographical work. Although very little is known about the goddess Clota, Anderson intuitively understands the River Clyde provides a rich landscape to explore her legacy. Dominating its environment, and steeped in ancient and modern historical significance, 'Clota' simultaneously reflects on what is, and what has been. Through deft application of modular synthesis, Anderson's trademark ability to weave extraordinary musical dialogues with time and place, conjures new life into this long-forgotten deity.

- iam8bit Edition - 2xLP on Ice Crown Blue Vinyl - Featuring Music from World of Warcraft: Wrath of the Lich King - Music Composed by Russell Brower, Derek Duke, Glenn Stafford, Jason Hayes, and Neal Acree - Album Design by Ryan Brinkerhoff // Wrath of the Lich King was more than just World of Warcraft's second expansion. For the game's millions of players, its release was a watershed moment in the MMORPG's then-young history, a defining time that rocketed the game into a new stratosphere of popularity and prestige. Northrend may be cold, but we here at iam8bit are feeling the warm and fuzzy embrace of nostalgia, thinking back on fond memories of countless icy raid nights. To commemorate this feeling, we collaborated with the folks at Blizzard Entertainment to create a 2xLP worthy of the Frozen Throne! Inside, you'll find select tracks from Russell Brower, Derek Duke, Glenn Stafford, Jason Hayes, and Neal Acree unforgettable soundtrack, presented across two records and packaged in album design from seasoned talent Ryan Brinkerhoff. This iam8bit version comes on lovely Crown Blue vinyl. Whether you're rolling need or greed, we know you're gonna want this one. Don't miss out on this celebration of one of the greatest expansions of all time!

Batov Records' Middle Eastern Grooves 45s series welcomes the latest addition to its eclectic roster - a two-track EP from Eje Eje, the psych and funk inspired project from Şatellites band leader and producer, Itamar Kluger. Featuring the tracks "That Rainy Down" and "Coral Sex," the EP showcases Eje Eje's unique blend of Middle Eastern melodies, soulful grooves, and psychedelic sounds.

On the A-side "That Rainy Down," The electro baglama player takes the lead, building and building as if, “he is pushing himself to his limit”, says Itamar, “seeking catharsis as he walks to the edge of the cliff with confidence”, whilst the a baladi rhythm plays like an immense march of drummers. On the B-side we find the funkier "Coral Sex", which according to Itamar tells a story of a drunk tramp bothering the refined and self-important occupants of an exclusive hotel lobby. Reflecting this friction, the track juxtaposes a silky and sophisticated R&B sound, with loosely, pr even drunkenly, played take on rebetiko, a traditional Greek music associated with the poorest of city dwellers, played on a long-necked Greek lute known as a bouzouki.

As each track develops, new layers are revealed, inviting the listener to delve deeper. The effect is intentional. As Itamar says, "there is this kind of music that hooks you in a different way every time you hear it, different places in the songs lighting up in different colors, like slowly revealed layers. In our (Eje Eje) case, it is just such a hazed blend. It could make a very specific atmosphere, color a very specific movie scene that is lost in time or yet to be directed, or a very specific moment with your headphones on a long bus to the desert."

Itamar Kluger is best known for his work with the Şatellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France.

Eje Eje’s first 45 promises to be at least as quirky and original, if not more so, since the project is even more unshackled from traditional concepts of a band.

Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.

Limited to 6,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and includes the bonus track "Allison's Uncle." Offering reference-calibre sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior. The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit its extremely select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic photos to the gorgeous finishes.

FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY

Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.

In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.

Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.

It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”

It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.

Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need

Jason Grimez is a Cincinnati-based DJ and producer. He has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimez works with some of Cincinnati's finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. The next LP, In The Infinite, is due out 12/01/2023 via Chiefdom Records. Grimez fell in love with music during the golden era of early 90's east coast hip hop - when digging for jazz and funky samples were the backbone of beats. He became comfortable scratching on a pair of 1200s and sampling records with an MPC 3000 in high school. After years of collecting music and working on his sound behind the scenes, he has compiled a huge discography of original songs. In 2015, Grimez started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. The project features a studio band of session musicians. Grimez is responsible for writing, recording, producing, mixing, and releasing the records. He gathers a group of musicians in his studio, presents a few ideas, and hits record. Due to a rotating cast of musicians and ever-changing inspirations, no two sessions are alike. "There's no set pattern," Grimez explained. "I'll invite some session players and have them jam on a few ideas. Sometimes we'll start with a drum break and add melodies over top. It's mostly improv, and I can always go back and chop it up." One common thread is the fresh, original sounds. "I like to call it Organic Groove," he shared. "I'm inspired by all kinds of music - instrumental hip-hop, soul, classic rock, jazz, you name it. When we get in the studio, all of the pieces add up to a new sound." In The Infinite features some of the best players in the Cincinnati music scene. Cameron Brown played guitar on several tracks. Brian Batchelor-Glader, an award-winning pianist, was also involved. All 12 tracks provide the perfect backdrop for hanging with a group of good friends or cruising in the car. The drums are solid, consistent, and lay an effortless foundation for all kinds of instrumentation. Jazzy trumpet lines, ethereal keyboards, choppy soul guitar licks, and much more. "Do You Remember?" (track 2) heroes a busy, poppy guitar and a head-bobbing bassline. The record scratching and tape-recorded drum tones on "Plastic Art" (track 7) feels like a hip-hop instrumental from the early aughts. From top to bottom, this record has a lot to offer. Pick up a copy of In The Infinite on vinyl or stream the album on 12/01/2023

Supershy is the electronic alter-ego of Tom Misch. Drawing from classic disco, contemporary house, and crate-digger soul. On this debut mixtape Misch delivers 10 club tracks touching disco house, french-touch, acid and more - all underpinned with his unique musicality.

10 DOUBLE SIDED NORTHERN SOUL GEMS FOR THE FIRST TIME EVER ON 7" VINYL. THERE IS SOMETHING FOR EVERYONE. SUPER LIMITED, AND WHEN THEY ARE GONE THEY ARE GONE JUST LIKE VOLUME 1 AND 2 THAT NOW SELL FOR OVER DOUBLE INDIVIDUALLY.