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DJ support: Lenzman, Redeyes, Trail, Satl, Flight, Doc Scott

Rosebay Music presents its 5th release: a collaborative effort from Submorphics & Zar. These 2 producers linked up in Manchester for an inspired afternoon in the studio before playing at iconic club night @hitandrunuk 'Another Level Of Love' is a timeless piece of D&B magic. Classic 90s strings, melancholic piano and a live bassline set the tone for aya dia’s grainy vocals to cut through the mix and straight into your soul. 'Western Times' is a deeper and subtler moment. A chopped-up Rhodes sample glides over woeful guitars and beautiful pads creating a hypnotic, cinematic atmosphere. Visionary music written for your deep winter nights.

In the words of Hamlin Garland....I remember a hundred lovely lakes, and recall the fragrant breath of pine and fir and cedar and poplar trees. The trail has strung upon it, as upon a thread of silk, opalescent dawns and saffron sunsets. It has given me blessed release from care and worry and the troubled thinking of our modern day. It has been a return to the primitive and the peaceful. Whenever the pressure of our complex city life thins my blood and benumbs my brain, I seek relief in the trail; and when I hear the Coyote wailing to the yellow dawn, my cares fall from me - I am happy. Coyote wail away all your troubles. Their dub sensibilities to the fore and supported by ambient textures and chunky bounding percussive rhythms.Another unique listening experience from the IIB overlords

Cumulating tens of millions of streams with hits like ‘Jump up Pon It’, ‘Heal Them’ or ‘Supanova’, BROTHER CULTURE is a true icon of the global reggae and dub scene. As one of the UK’s most influential voices, his career has spanned decades, earning him legendary status and a devoted following worldwide.

Now, Brother Culture joins forces with Swiss reggae powerhouse THE 18TH PARALLEL to deliver ‘Ghetto Man’, a commanding anthem of social emancipation. This track blends Brother Culture’s unmistakable lyrical prowess with The 18th Parallel’s hardcore roots-driven sound, creating a powerful call to rise above adversity and fight for justice. Brother Culture’s reputation as a trailblazer in reggae and dub shines through in every verse, while The 18th Parallel cements their place as a leading force in modern roots music. Together, they’ve crafted a track that resonates deeply, speaking to both the struggles and the strength of communities worldwide.

Adding to the magic is the presence of Paolo Baldini DubFiles on the mix, turning the song into a sound system killer with his dub effects. A true mix lesson that connects with reggae enthusiasts and newcomers alike.

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

Since 1972, the group has remained quintessential bearers of the tradition, releasing
nearly two dozen albums that cast a wide net for inspiration and repertoire. Remains
to Be Scene is no exception, delivering stirring takes on bluegrass standards and
providing their signature interpretations on deep cuts from the likes of The Kinks, Bob
Dylan, and Jim Croce. The album is the first to be released since the passing of
founding member and trailblazing banjo player Ben Eldridge, who contributes
impassioned liner notes to the release. Beneath the album's title lies a plain truth:
more than fifty years in, The Seldom Scene are looking ever forward.
Original Seldom Scene are Bluegrass Hall of Fame inductees
"It goes without saying (but I'll say it anyway), the Seldom Scene is one of the most
influential and durable bands in modern bluegrass history." - Bluegrass Unlimited

Alongside the multiple UK Soul Chart No.1 album "Forward Motion' and trailing the vinyl 2LP issue comes the Georgie Bromfield Remix of 'I'm In Love (Georgie B. Remix)'.

Georgie Bromfield has a proven track record of No.1 Remixes in the Soul market, and is a veteran of the UK Soul Scene from the 1980's Jazz-Funk heyday of his band Second image up until the present day with his current releases by Groove Association.

Georgie has a weekly radio show every Saturday night on GLR. Georgie's remix highlights the vocals of one of Soul Music's 'best kept secrets', Antonio McLendon, a name that has rightly been comparied to Luther Vandross in terms of quality and who happens to be the father of Grammy-award winning Jazz vocalist Samara Joy. This remix is in advance of the vinyl 2LP release of the 'Forward Motion' album.

Western Skies Motel, das Instrumental-Musik Projekt des Dänen René Gonzalez Schelbeck veröffentlicht sein viertes Album 'Trails'. Seine Musik wird oft als „Ambient Americana“ beschrieben, widersetzt sich jedoch einem so simplen Etikett. Sie ist eindrucksvoll und atmosphärisch und hat zweifellos musikalische Gemeinsamkeiten mit Künstlern wie Arvo Pärt, Daniel Lanois, den Soundtracks von Nick Cave und Warren Ellis, Grouper, William Basinski und sogar mit dem düsteren Americana-Drone-Rock von Earth, wie René es prägnant ausdrückt: „Ich mag Einfachheit. Weniger Noten und längere Noten.“

When the late Jazz impresario and trailblazer Meghan Stabile first launched the Revivalist platform and Revive Da Live concert series in NYC, the goal was to bridge the gap between younger Hip-Hop audiences and traditional Jazz purists. Born from this vision in 2010 was the Revive Big Band, an inventive 20+ piece ensemble led by artistic director, trumpeter, and composer Igmar Thomas. Merging tradition with groundbreaking creativity since its inception, the multi-generational band’s world-class cadre of musicians unites for Like A Tree It Grows. As the Revive Big Band’s official full-length debut, this album represents not only a 14-year timeline of the Revive collective’s journey, but also a deeper tribute to the Black American Music lineage. It’s a celebration of community that uses the timeless power of music to tell a story of cultural legacy, innovation, and artistic collaboration. From original compositions like “R&P” and “The Coming”, to reinterpretations of classic records paying homage to musical legends (e.g. Wayne Shorter, Dizzy Gillespie, etc.) Like A Tree It Grows showcases Thomas’ intricate arrangements that blend Jazz, Hip-Hop, Soul, and a range of genres from the lineage of Black American music. With guest features from Talib Kweli, Dr. Lonnie Smith, Terrace Martin, Jean Baylor, Bilal, and more, the album provides a bridge between past and future, inviting listeners to explore the roots of Black music while reimagining its possibilities.

"The, multi-platinum, 3x GRAMMY® Award-nominated, and Emmy® Award-winning rapper Cordae has releases his highly acclaimed third studio album, The Crossroads on 12"" LP.

The new album features production from Executive Producer Smoko Ono, as well as production from multi-platinum and award-winning hitmakers Bongo ByTheWay, Dem Jointz, Camper, BoogzDaBeast, FNZ, and more. Listen HERE.

The Crossroads arrives on the heels of “Syrup Sandwiches” (feat. Joey Bada$$), the fourth lead single released by Cordae ahead of today’s official album release. Previously, “Saturday Mornings” (feat. Lil Wayne), “Summer Drop” (feat. Anderson . Paak), and “Mad As Fuck” were released along with accompanying music videos. An official album trailer was also previously shared on Cordae’s YouTube channel last month. The Crossroads integrates the four lead singles into a cohesive 16-track album containing even more stellar collaborations from Juicy J, Ty Dolla $ign, Jordan Ward, Ravyn Lenae, and Kanye West.


Cordae’s inspiration for The Crossroads comes from his feelings of quite literally finding himself at a crossroads in his own life. Through the album, he conveys his conviction that one single decision doesn’t have the power to change everything, and that while there may be hard decisions to make, there is never truly a “wrong” choice.

The album has already had a viral moment online in the UK with the features being tagged on to the iconic Abbey Road crossing during release week. "

Released for the first time on vinyl, ‘Brat and it’s completely different’ is the reworked version of ‘BRAT’ which reached number 1 on the UK’s official album chart, and includes the number 1 single ‘Guess featuring Billie Eillish’.



Avant-pop and electronic superstar Charli xcx has become an iconic figure in the arts, having helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and mainstream with her artistic output.



Over the course of a trailblazing career, the multi-hyphenate creative has earned critical acclaim for her innovative style and entrepreneurial spirit and seen her forward-thinking approach reshape pop culture in the process.

She released her sixth studio album ‘BRAT’ in June which stands as the most critically acclaimed album of the year and landed at Number 1 on the UK Official Album Chart in October.



‘BRAT’ has well and truly made its mark on the cultural zeitgeist this year; the audacious campaign has seen Charli cause roadblocks around the world with her pop-up ‘PARTYGIRL’ DJ sets, break the internet with viral videos and surprise collaborations with the likes of Billie Eilish, Lorde, Addison Rae, Robyn, Yung Lean, Julia Fox, Chloë Sevigny, and Rachel Sennott and introduce a new tone of green to the social lexicon.



The album was nominated for the Mercury Prize 2024 while ‘Guess featuring Billie Eilish’ debuted at Number 1 on the UK Official Singles Chart, making Charli the first British artist to land at the top of the charts this year.



In October, Charli followed it up with ‘Brat and it's completely different but also still brat’ - a brand-new version of the critically acclaimed album featuring reimagined takes and innovative reworks of tracks from ‘BRAT’ featuring the likes of Julian Casablancas, Bon Iver, The 1975, Shygirl, Ariana Grande, Caroline Polachek and more.



Her lasting impact was cemented last year when Charli was honoured with the Visionary Award at the annual Ivor Novellos in London, while she also received the Powerhouse Award at Billboard’s Women In Music ceremony in March, the ASCAP Global Impact Award in May and Wall Street Journal’s Music Innovator Award in October.

Few sounds transcend time and space quite like the driving pulse of Afrobeat, and few artists, for that matter, have defined their own domains quite as profoundly as Tony Allen—the very beat of Afrobeat itself. In 2011, Allen recorded one of his inimitable rhythmic dialogues as part of the Afrobeat Makers Series for the Parisian imprint Comet Records. Charged with the same fervour for uninhibited expression that defined his trailblazing career, Tony Allen’s drumming, free from convention and charting its own course, emanates a cadenced stream of consciousness that speaks its own truth.

If Allen’s language was his beat, then on this record, La BOA—La Bogotá Orquesta Afrobeat—becomes his latest and most fitting interlocutor. What began as a tribute—a song named after Allen—now feels like the prelude to a deeper dialogue in a meeting that seems more like fate than mere happenstance.

Led by producer Daniel Michel, the ever-evolving band has spent over ten years embodying the fluid, transformative spirit of Afrobeat, imprinting it with their distinctly Colombian sensibilities. From Casa Mambo in Bogotá, Michel’s Mambo Negro Records has become a cornerstone of Colombia’s underground scene championing Afro-Colombian and independent music throughout that time.

Across this LP, Allen’s recordings lay down the canvas upon which La BOA paints its own vision of Afrobeat—raw and expansive, locking step with his drum tracks while building around the unmistakable blueprint of their Colombian rhythms: exuding Caribbean beat, rolling with Pacific groove, and, above all, shaped by the rarefied air of the Andean melting pot that is Bogotá. What ensues is an enduring conversation that crosses eras, borders, even life and death—a celebration of the passing of the baton and the boundless nature of Afrobeat as a genre that refuses to settle. Where the beat of Lagos meets the brass of Bogotá, so too La BOA meets Tony Allen.

Kid Katana Records teamed up with SNK, Dotemu and Leikir Studio to release Metal Slug Tactics OST, a return of this iconic franchise renewed in a dynamic tactical RPG.

This edition includes:
→ 2x 12-inch orange vinyls featuring the 37 tracks in the game
→ exclusive gatefold designed with game-related graphics and glossy 90s finish

This OST was fully composed by Tee Lopes, the talent behind the music of TMNT: Shredder’s Revenge, Sonic Mania and Streets of Rage 4: Mr X’s Nightmare. He crafted a solid piece of music perfectly fitting the colorful and intense gameplay.

Waxwork Records welcomes you to the dinner table to enjoy the THANKSGIVING Original Motion Picture Soundtrack by Brandon Roberts!
Originally an “Upcoming Feature” trailer to an unmade movie seen in the 2007 film GRINDHOUSE, the long-awaited feature length holiday horror film by director Eli Roth is officially here! All will be carved!
Waxwork Records is grateful to release THANKSGIVING Original Motion Picture Soundtrack by Brandon Roberts on 180 gram
“Pumpkin and Blood Swirl” coloured vinyl, housed in deluxe packaging with heavyweight gatefold jackets, artwork by Steve Reeves, and more!

Originally released on February 17, 2015, Aaron Watson’s The Underdog made music history by being the the first independently distributed and promoted album from a solo male artist to debut at #1 on Billboard's Top Country Albums chart. Though it was Aaron’s twelfth album, The Underdog’s success sent shockwaves though Nashville, and the music world as a whole, launching hits and fan favorites “Freight Train,” “That Look,” “Getaway Truck,” “Bluebonnets” and the Texas independent music anthem “Fencepost”. Produced by Keith Stegall and Aaron, The Underdog took Aaron’s career to new heights and helped re-shape the country music landscape. It was a pivotal shot in the arm for DIY / independent country artists around the globe.
NOW... available commercially for the first time on vinyl, this stunning two record 10th Anniversary set
features the original 14 songs/recordings as they were meant to be be heard - with that warm analogue vinyl sound. As an added bonus, Side D features a custom etching of the album cover and the trailblazing and career defining lyric “I’d rather be an old fence post in Texas” (than the king of Tennessee) from the album’s closing sing along song “Fencepost”. From the humble honky-tonks of Texas to multiple sold-out tours around the world. Rolling Stone calls Aaron "Texas country's reigning indie underdog”. Aaron Watson is here to stay and is currently writing and recording a forty song album, aptly titled Horse Named Texas, which is slated for release in early 2026.

Cali Lanauze makes label debut on Crosstown Rebels with his ‘Borderline’ EP.

The three-tracker, landing on 14th February 2025, features a first-time collaboration with Cari Golden alongside two solo cuts.

Hailing from the vibrant shores of San Juan, Puerto Rico, Cali Lanauze has spent over a decade carving out his space in the global electronic scene. A trailblazer since his teens, Cali’s rich, eclectic grooves reflect both his Caribbean roots and his deep connection to underground music. Now, with his debut on Damian Lazarus’ Crosstown Rebels, he follows an impressive outing via sister label Rebellion with his ‘Borderline’ EP, cementing his position as one of his nation’s finest electronic exports.

The title track sees Cali team up with LA-based singer/songwriter Cari Golden, whose credits include collaborations with Groove Armada, Camelphat, Anja Schneider, Audiofly, and more. Having debuted on Crosstown Rebels with Fur Coat on ‘You and I’, Cari’s second appearance sees her soulful, evocative vocals intertwine effortlessly with Cali’s melancholic yet uplifting production. On the flip, Cali showcases his solo prowess. ‘Temple of Confessions’ takes listeners on a hypnotic journey with trippy grooves inspired by the otherworldly energy of Hï Ibiza’s Club Room, while ‘Talk To My People’ delivers a heady mix capturing the essence of his dynamic artistry.

Cali’s journey from a young producer in Puerto Rico has welcomed releases on labels like Flying Circus, Visionquest, and My Favorite Robot, garnering support from legends such as Carl Cox, Radio Slave, and DJ Sneak. Curating groundbreaking events in Puerto Rico, gracing iconic venues like Hï Ibiza and Brooklyn Mirage, and heading up his own label, Opulenc, Launauze has created a platform for his innovations and genre-spanning productions.

The next release from 29 Speedway is Break, the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music. The tape features two remixes by the singular DJ Marcelle.

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music.

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.

Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering.

The history of electronic music has been defined by a handful of key synth manufacturers. Iconic brands, like Roland, Yamaha, Sequential Circuits and others, have pushed boundaries and blazed trails. But what gives each synthesizer its own unique sound? What makes one synthesizer sound distinctly different from another? And, what would happen if you only used one synthesizer to create a track? The major players of electronics are the building blocks for this music machine homage.

Rack Sessions takes one synth and gives it the spotlight, the instrument is the star. The style pursued corresponds to the unique sound of the chosen piece of equipment. Looming silver screen grandeur for “The D (Roland D-550)”, stargazing elegance with “Bell Hope (Yamaha TX81Z) or gentle rolling nostalgia for “MiR (Korg M1R)”, each work is the product of the tool selected. Beats take a backseat on the flip. Open highways and burgeoning dawns are conjured in “802 Nights (Yamaha TX802)” as the listener is transported to the expertly crafted tones of the 1980s. Koolhaas chooses his elements with subtlety, adding colour to his palette to create deeply evocative works. Attack ships cruise in the spatial “SOB (Oberheim Matrix-6)” before the stalker hunts the sodden streets of “MC202’s Act Like They Don’t Know (Roland MC-202)”.

The result is an album that is utterly distinctive. An immersive audio journey that guides the listener deep into the sounds of these very special synthsizers and the broad influences of this new talent.

Young Kingz II marks Krept & Konan’s first album since top-5 charting Revenge Is Sweet, a project which cemented their place in music history as UK rap royalty and saw them become the first British rap act to headline the O2 London. It also follows the duo’s equally ground-breaking 2017 release of 7 DAYS and 7 NIGHTS, which saw them become the first act ever to have two mixtapes simultaneously enter the Top 10 of the Official UK Albums chart, and their 2015 debut album The Long Way Home which debuted at no. 2 on The Official UK Albums Chart, becoming the highest charting British Rap album in UK chart history.

With Young Kingz II, Krept & Konan are set to continue their legacy and undisputed relevance in the British music scene. Returning to their independent roots, they come full circle with the follow up to their 2013 released Young Kingz mixtape which catapulted the duo into the Top 20 of The Official UK Albums Chart, earning them a Guinness World Record for the highest charting UK album by an unsigned act.

Young Kingz was pivotal in establishing Krept & Konan as trailblazers in the UK rap scene, kickstarting their reputation for repeatedly breaking records and consistently breaking ground. With a broad-ranging rollcall of featured artists, it heralded their signature approach to collaborations of enlisting fledgling artists (such as s then little-known MC, Stormzy), alongside more established ones (George The Poet, Chip, Tine Tempah and Giggs). It also saw Krept & Konan gain traction across the Atlantic with US rappers French Montana, Chinx Drugz, Lil Durk stepping up on the remix of the mixtape’s second single release, "Don’t Waste My Time", and garnered them a BET Award (Best International Act) and MOBO Award (Best Hip-Hop Act).

‘Young Kingz II’ is poised to be yet another milestone in Krept & Konan's unstoppable career. As unapologetic pioneers in UK hip-hop, they continue to push boundaries and set new benchmarks in British music.

Grammy-nominated artist, producer and label-head TOKiMONSTA and prolific composer, producer and songwriter, Suzi Analogue have officially released their collaborative mini-album, Analogue Monsta: BOOM via Young Art Records. Originally released in limited quantities exclusively on vinyl in 2012, the 11-track project has now been remastered. Analogue Monsta: BOOM serves as a time capsule to the eclectic sound of the early 2010’s beat scene, which both TOKi and Suzi’s futuristic production styles helped champion out to a broader audience outside of the world of “bedroom producers.” Suzi Analogue's smooth R&B vocals pair perfectly with TOKiMONSTA's glitchy beats and pulsating bass, demonstrating their versatility and flair for pushing sonic boundaries. The album lays one of the early foundations to the fusion of future bass, alternative R&B and electronica, highlighting the pioneering spirit of two acclaimed female artists.

Analogue Monsta: BOOM marks an important milestone for the two as they reflect on the prescient nature of their early collaboration. “This special project with Suzi Analogue is one of my favorites. It never had a formal release so it feels right to share it with the world a decade later with fresh ears,” states TOKiMONSTA. Both Suzi and TOKi’s journeys converged early in their careers as the two paved the way for a groundbreaking era of femme-identifying producers and songwriters within the music industry. Speaking on the project’s significance Suzi Analogue adds, “​​The Analogue Monsta project was truly ahead of its time. We felt a strong calling to propel it into the future, recognizing the trailblazing potential it held. It provided a vital space for femme-identifying producers and songwriters to fearlessly explore beats, lyrics and tempos with us. This experimental journey not only influenced the current musical landscape but is poised to leave a lasting mark on the soundscape of the future."

The result is a record that very much is its own world. Where chaos is carefully organized, where being able to ever actually chill out is totally illusory, a trick mirror.

GRAMMY-nominated recording artist GloRilla releases her highly anticipated debut album GLORIOUS. The star-studded affair includes features from Megan Thee Stallion, Latto, Sexyy Red, Kirk Franklin, Bossman Dlo, Fridayy, T-Pain, Muni Long, and Chandler Moore. The debut studio album comes after Big Glo trailblazed her way through the music industry with infectious hit records and high-profile collaborations that have won fans around the globe, including this year's Hot 100 hits ""Yeah Glo!,"" ""TGIF"" and ""Wanna Be"" featuring Megan Thee Stallion."""

Ocean Moon - alias of producer Jon Tye (MLO).

In addition to running the long-standing label Lo Recordings, Tye has recorded under various names and been involved in numerous projects over the past three decades. Keen fans of the label may also notice that this isn't Tye's first collaboration with MFM; his work during the 1990's as part of UK ambient group MLO captured our attention years ago, leading to the release of their retrospective album 'Oumuamua' in 2021.

Releasing archival work alongside new material from an artist has been a fundamental aspect of Music From Memory's identity since we began the label, and is something that continues to bring us immense joy. With Jon continuing to produce work under a wide range of names to this day, the short step to releasing this new work was organic and natural. Working under the name Ocean Moon Jon carries echoes of his work with MLO into the modern day, weaving an ambient electronic music that radiates gentle positivity.

The title 'Ways To The Deep Meadow' is inspired by the poem 'Universal Solar Calendar' written by poet, mystic, shaman, and visionary Angus Maclise. Maclise began as the percussionist in an early iteration of La Monte Young's Theatre Of Eternal Music and later played with the Velvet Underground before moving to Nepal, where he wrote and published an impressive collection of poetry and music.

Side one of the album was created at a time when Tye had been exploring ideas around artificial intelligence, delving into books such as 'The Physics Of Immortality' by Frank J. Tippler, 'Novacene' by James Lovelock, and '12 Bytes' by Jeanette Winterson, seeking an alternative to the prevalent, negative views of AI. He was also inspired by the Buddhist perspective of AI as an integral part of consciousness evolution, as evidenced by the creation of a Buddhist robot that preaches in the Kodaiji Temple in Kyoto.

Side two consists of two long-form pieces, one composed for Janine Rook's 'Made In Dreams' exhibition and the other for Vix Hill Ryder's 'Wild Edges' film. For 'Made In Dreams', text from the exhibition catalogue was processed via the Holly Herndon Holly + app to create an environment that is simultaneously otherworldly and warm.

As with much of Jon's work, this music seeks to nurture an optimistic outlook in the listener, something he achieves here with subtlety and a truly delicate touch. The immersive ambient music of 'Ways To The Deep Meadow' reaches out to the listener like gentle trails of light, offering it's spells,invocations and enchantments to all who choose to listen.

'Ways To The Deep Meadow' will be released on 31st January 2025 on LP as well as digitally. Sleeve art and design by Michael Willis.

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

Delinquent Habits’ 1998 album Here Come The Horns is a standout in the world of Latin-infused hip-hop, blending bilingual lyrics, smooth beats, and a vibrant mariachi-inspired sound. The album builds on the group’s unique style, featuring bold horn sections, infectious rhythms, and their signature West Coast vibe. Tracks like “This Is L.A.” and the title track “Here Come The Horns” highlight the trio’s lyrical prowess and creative fusion of traditional Latin sounds with modern hip-hop elements. The album showcases their ability to deliver socially conscious messages with a party-ready energy, making it both thought-provoking and entertaining. Here Come The Horns cemented Delinquent Habits’ reputation as trailblazers in the genre, earning them acclaim for their innovative approach. For fans of Latin hip-hop, this album is a must-listen, offering a timeless blend of cultural pride and musical innovation.
Here Come The Horns is available as a limited edition of 1500 individually numbered copies on red coloured vinyl.

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Genesis' seventh studio album was released in February 1976 on Charisma Records and was the first to feature drummer Phil Collins as lead vocalist after the departure of Peter Gabriel. The album was a critical and commercial success in the U.K. and U.S., reaching No. 3 and No. 31 respectively. A Trick Of The Tail was a landmark album for the band, and it still stands today as one of their best with classics such as "Dance On A Volcano" and "Squonk."

In the wake of Peter Gabriel's departure from the band, the remaining members of Genesis were determined to forge ahead, showcasing their songwriting prowess and recording prowess in the absence of their iconic frontman. This period marked the genesis of A Trick of the Tail. In mid-1975, the band embarked on an intensive creative journey, crafting new compositions and diligently rehearsing them. Their quest for a new lead vocalist led them to sift through a staggering 400 audition tapes.

As the autumn leaves began to fall, Genesis found themselves at Trident Studios in October, accompanied by producer David Hentschel. Surprisingly, the recording sessions began with an air of uncertainty regarding who would take on the role of lead vocalist. However, fate intervened when Phil Collins was persuaded to step up and deliver a powerful rendition of "Squonk." The strength of his performance not only won over the band but also paved the way for him to assume lead vocals for the entirety of the album.

Genesis has always been synonymous with grandeur and innovation, both in their electrifying live performances and their trailblazing studio albums. From timeless classics such as Nursery Cryme, Foxtrot, Selling England By The Pound, to the epic concept album The Lamb Lies Down On Broadway, the band has consistently pushed the boundaries of musical creativity.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing.

Over the span of four remarkable decades, Genesis has left an indelible mark on the music industry, having sold a staggering 150 million albums worldwide. Their influence extends far and wide, inspiring artists ranging from the indie rock stylings of Elbow to the experimental sounds of The Flaming Lips, and even the soulful resonance of Jeff Buckley. A Trick of the Tail stands as a testament to their enduring legacy and their ability to adapt and thrive in the face of change.

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

This collection features sixteen of the most renowned salsa and Latin soul singles released on Fania Records, and its subsidiaries, between 1964-1978, making it the perfect introduction to the legendary catalog. It celebrates the trailblazing label’s 60th anniversary, and iconic artists Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Celia Cruz and more. Archival images and new liner notes, in English and Spanish, by New York-based music historian Aurora Flores are also included.

Seit sie die Wiener Musikszene mit ihrem Debüt ,Trouble" (2022) und dem Nachfolger-Album ,Lightning Trails" (2023) im Sturm erobert haben, etablierten sich die Jangle-Pop-Maestros Laundromat Chicks in jenem seltenen musikalischen Terrain, in der sich Humor, Übermut und Verletzlichkeit überschneiden. Von pubertären Power-Pop-Hymnen bis hin zu knackigem Jangle-Pop sind Laundromat Chicks die Art von Band, die einen an alle Lieblingsbands auf einmal erinnert. Auf ihrem Album ,Sometimes Possessed" (Siluh Records) erweitert die Band ihre Soundpalette. Mastermind Tobias Hammermüller führt sein Songwriting in neue Bahnen, indem die gewohnt schlagfertigen Gitarrenhymnen mit abstrakteren, sanfter klingendenmusikalischen Ideen abwechseln. Das Quartett, bestehend neben Hammermüller (Gesang/Gitarre) aus Theresa Strohmer (Gitarre/Gesang), Felix Schnabl (Schlagzeug) und Lena Pöttinger (Bass), war von Anfang an sehr produktiv - sowohl bei Laundromat Chicks als auch bei anderen Projekten. So spielen Strohmer und Pöttinger auch in der Garage-Pop-Band Topsy Turvy, während Schnabl sein eigenes 60er-Jahre-Garage-Punk-Projekt Salamirecorder hat und in der Psychrock-Gruppe Telebrains Schlagzeug spielt und singt. Laundromat Chicks' erste beiden Veröffentlichungen bei Siluh Records, sind eine Fundgrube an zu entdeckenden Gitarrenpops, z.B. die Single ,You're on the Line" ist so witzig undeindringlich wie jede pubertäre Powerpop-Hymne diesseits von Buzzcocks und The Undertones, während ,Nobody Believes Me" den eisigen Fatalismus von Joy Division mit dem knackigen Jangle von The Babies and Girls verbindet. Es steht außer Frage, dass die Laundromat Chicks in nur 20 Minuten eine Band sein können, die dich an alle deine Lieblingsbands auf einmal erinnert, aber auch gleichzeitig in neue, aufregende Gefilde entführen kann. Auf Sometimes Possessed erweitert diese speziellen Gebiete erheblich: Die bislang gewohnten 20 Minuten dehnen sich nun zu einem inspirierten 30-minütigen Fiebertraum aus. Damit sich die Gefühle entfalten konnten, musste der Startpunkt des Albums irgendwo aus einem abgelegenen bzw. fast vergessenen Fundus kommen. Das Ergebnis ist Laundromat Chicks' hitzeverzerrte Interpretation der von Ray Davies geschriebenen 60ties Ballade ,This Strange Effect", ein schwindelerregendes Duett, dargeboten von Sänger Hammermüller mit Gitarristin Theresa Strohmer als Duett.

LP + 7". Portland indie rock band charts novel sonic territory, exploring resilience of the human spirit in the aftermath of tragedy and trauma, over 5 years in the making. Conceived in the wake of a worldwide quarantine, the entire West Coast being on fire, and the horrific murder of one of the band's own - then recorded, finished, and now released in defiance of it all. Harnessing all that of chaotic change and catastrophe, the band took it all as an opportunity to boldly blaze some new trails for themselves, carving out new sonic territory by exploring everything from spacey Fusion-Funk bass Moogs and Hip-Hop drum machines, to New Wave-ish synths and flourishes of Samba, Blues, Soul, and Sunshine Pop - all while still delivering the goods that Aan fans have come to know them for: to-die-for melodies, inebriating primal belt-along therapy, and face-melting guitar solos. For Fans of Unknown Mortal Orchestra, STRFKR, Pixies, Dungen, Grizzly Bear, TV On The Radio, Stereolab and Modest Mouse.

While 1995's Washing Machine LP moniker was a thinly-veiled jab at the corporate aesthetic ("no, you cannot turn Sonic Youth into a household appliance brand", the band even considered changing its name to Washing Machine but settled on the album title instead), their major label relationship was indeed a curious buzzpoint of talk on the street after their intake to DGC in 1990. It wouldn't be fair to say that this state of existence propelled the band to reinforce its independent mindset by releasing a series of opaque-looking, French-language-dipping, highbrow-looking releases on their own that focused on the more abstract improv/compositional side of the band; in all truths they had been heavily steeped in self-releasing spillover material prior to that. But after a pressure pot of the early 90's indoctrination into a new operational mode for the band and its visibility, and the forces around it attempting to shape their direction, it seemed like a good time to create a strong show of radical concept.

The Anagrama EP became the first in a series of the SYR label's Perspective Musicales releases seemingly cementing Sonic Youth's connectivity to an increasing public awareness in experimental composers of the 20th century (French or otherwise). The irony was that many of those original avant composers being rediscovered by the indie audience (Partch, Neuhaus, Reich, Messaien) often found themselves on major labels anyway! So, perhaps this reverse approach was a necessary concept/comment given the music biz climate of the 90's. Regardless of how apples and oranges fell in Xenakian probability/theory, it was clear that both Sonic Youth's stature in progressive music, aided by now unlimited taperoll time thanks to a home base studio downtown established after their Lollapalooza stint, gave the band plenty of trailblazing time for their self examination of untraveled avenues.

"Anagrama" unfolds into nine minutes of delicate textures, starting with thick drone segueing into moments reminiscent of the post-crescendo flutter/comedown of "Marquee Moon's" trail-out; Thurston, Lee and Kim's guitars all circling round each other taking delicate pokes and stabs before drifting into some post-rock rhythmic moves tapered with delicate percussive guidance from Steve Shelley. "Improvisation Ajoutée" reaches further out into dissolve with whirring oscillations, guitars hissing and clanking radiator-style in a short blast format that continues into "Tremens" and a spooked-out landscape of gelatinous notes snaking up slowly. The sparseness of attack is colorful, textures emit and linger, silent spots shine, all flanked by tasteful drumming that provides the thread to all the abstraction. Shelley's approach here is interestingly sideways to any kind of usual rock action, it's tempered, mutant and metronomic simultaneously. The finale track "Mieux: De Corrosion" is a real pedal-palatte showcase. Here, Plutonian guitar wash flanges upwards to buoy a myriad of colorful eruptions of amp-spuzz, chopped up tone blasts and general confusion. Out of the blue, some metallic one-note choogle kicks in and threatens to explode into some Judas Priestly motion, before it all sputters into aural glass showers, clang, and finally a ferocious wave of more flange hiss that crashes down on a dime.

This initial foray into SY's Perspectives Musicales series continued onward with releases featuring other co-conspirators, peaking with the ambitious 2CD Goodbye 20th Century that finally connects the band into full-on interpretations of other composers' pieces (as well as displaying their own new ones). The whole series is not so much an outlet for another "side" of the band, but a run that went hand in hand building new approaches of songcraft onto their own, more overground direction which included Jim O'Rourke (who hopped on during SYR3), adding additional density to A Thousand Leaves and other LPs of his era. Fans of the '86 Spinhead Sessions as well as the recently-exhumed later jams of In/Out/In will take in the sounds of SYR1 with glee.

The Trails label appeared as a natural continuation of the crew’s parties. By joining minds with select producers they aim to showcase pieces that capture their collective vision of electronic music.

On TRAILS001, they bring us their close friend and graphic designer Bogdan Năstase going by the alias DJ Bogdan. As a reflection of the label’s philosophy and taste, the EP presents themes of melancholy, introspection, mystery and hope, all wrapped in a sound aesthetic reminiscent of 2000’s electro-techno with a touch of synth-pop. Shade Detector kicks off the A side with enough energy to entice crowds during those peak hours of the night. Next up comes the title track, Freakshow Parallax, a melancholic piece for the afterhours. Moving on to the B side we find Videofreex. This one’s a creative and flexible tune suitable at any point of the party. We wrap up with Fântâna Carteziană, a wonderfully twisted minimal techno track that pays homage to a lost period of Bucharest’s history.

Born in Australia and moving to the UK in her early 30s, Peggy O’Keefe became the resident pianist at the Chevalier Casino in Glasgow in 1962. Initially the residency was for six months, which then turned into six years. It was at this point she recorded her 'Mood Chevalier' LP in 1966, a collection of the band’s favourites but the gold is found in her version of 'Cubano Chant', made famous by Art Blakey and then played across jazz dances ever since.

Peggy’s playing was admired by Cleo Laine and Oscar Peterson, and once had a brief, impromptu duet with Frank Sinatra, Peggy and her band showed their true talent with these two versions of jazz favourites.

Hiding in the shadows for nearly 60 years, Now PANORAMA unearth this gem in their trademark 7 inch format, from a Glaswegian restaurant to a dancefloor near you.

PANORAMA Records is an emerging new label based in London, dedicated to rediscovering and showcasing musical gems with a fresh approach. With early support from notable DJs such as Gilles Peterson, Patrick Forge, Rainer Trueby, Mr Bongo DJs and Zag Erlat from My Analog Journal. Their unique take on Jazz and Funk from the further afield has shown they will become trailblazers in the reissue game for a long time.

The Leaves’ sophomore album weaves blues, folk and garage together through kaleidoscopic shards of psychedelia to bring listeners All The Good That’s Happening. On translucent chlorophyll green vinyl! Fired by youthful exuberance and a well-rounded repertoire of musical fashions, The Leaves, by all rights, should have turned into major stars. Despite the fact the band’s second and final album, “All The Good That’s Happening,” parented no winning singles and isn’t quite as potent as the first disc, the platter remains terribly underappreciated. Tracks such as the moody stupor of “On The Plane” and the ping-pong pulsations of “Lemmon Princess,” which carries a chaotic circus-like air, are decorated in psychedelic decals, while “Twilight Sanctuary” features some hard-driving harmonica blowing chained tight against giddy blues rock jamming.

The band’s blues influences additionally prevail on honest recyclings of Jimmy Reed’s raspy-throated “Let’s Get Together” and Buffy Sainte-Marie’s candidly cryptic “Codine,” along with “Flashback (The Rhythm Thing),” a retooling of John Lee Hooker’s “Crawling King Snake” that morphs into an intense boogie woogie instrumental. A copy of Manfred Mann’s “The One In The Middle” weighs in as another blues based item, and “To Try For The Sun” is a stark and haunting folk ballad. Snapping guitars, compounded by strong and solid harmonies give the album a strutting garage rock edge, where smatterings of offbeat arrangements and curious effects zone in on the freakier side of The Leaves. To call the album trailblazing would be stretching the truth, but there are enough amusing and exciting ideas to keep listeners awake and interested. Personnel issues, paired with lack of promotion prevented “All The Good That’s Happening” to be heard, resulting in the end of a band that died on the vine (pun intended) way too soon.

Acclaimed folk-blues singer/songwriter Luke Winslow-King has recently inked a significant deal with the iconic Bloodshot records, coinciding with the label’s 30th anniversary, and marking a revival in the institution’s trailblazer history of outlaw country, folk roots, and rock n roll. To celebrate this exciting collaboration, Luke Winslow-King is set to embark on a midwest tour with guitar maestro Roberto Luti of Tuscany May 17 - June 1 of 2024. Tuscan Slide Guitar Maestro Roberto Luti is a founding member of the Playing For Change band and has collaborated with legends such as Taj Mahal, Keb Mo, Keith Richards, Ringo Starr, Dr. John and numerous others, accumulating over 100 million plays on YouTube. His unorthodox, angular and evocative slide guitar style is based on Mississippi and Chicago blues and is infused by soul and African roots traditions. Fans can expect the sincere and heartfelt roots blues stylings King has become known for, showcased alongside his continual artistic reinvention

Die Doppel-LP im Klappcover ist in limitierter Auflage für kurze Zeit wieder erhältlich!

"Music Is The Rod" kommt mit den 24 besten Tracks des Sängers, mit Fotos und ausführlichen Liner Notes von Bridgett Anderson, der ehemaligen Managerin von Garnett Silk, und Anthony Rochester (seinem Partner für das Songwriting), sowie Zitaten der verschiedenen Produzenten: Bobby "Digital" Dixon (Digital B), Donovan Germain (Penthouse), Chris Chin (VP), Courtney Cole (Roof International), Richard "Bello" Bell (Star Trail), Sly Dunbar (Taxi), Danny Browne (Main Street), Richie Stevens (Pot Of Gold) und Phillip Smart (Tanyah).

Desde los oídos de un sapo

We are very excited to announce a new chapter in our journey. Here we are blazing a new trail, making our way to document and leave a first-class record of sound design, Field Recording and cutting-edge electronic music made in South America. We present our first album, 'Desde los oídos de un sapo', by our favourite amphibian, a man ahead of his time, the Uruguayan Lechuga Zafiro.

"How could I call it my sound if I had not found it myself?"___

States the artist, who finished forging his outstanding musical identity based on field recordings. Metal, wood, plastic, glass, rock, toads, birds, sea lions, pigs and water (in its various forms) captured in Uruguay, El Salvador, Chile, China, Argentina and Portugal, coexist and exchange harmonic and dynamic properties. By altering, editing, or simply letting the sounds manifest themselves, Lechuga generates a wide and complex rhythmic-timbral universe. These are 7 tracks that never cease to have consistency and a fierce character.

Lechuga's debut album is a milestone in Latin electronic music. This document opens a new territory, one so genuine and challenging, so real and fertile, that we are confident it will be a must-have anywhere on the planet. This collaboration is our new contribution to the mission of contemplation, so please stop, come to this frog's ear, to feel with both Pablo and us.

Comprising someof Denmark"s most prominent young musicians, Copenhagen"s trailblazing neo-jazz quintet OTOOTO refer to their innovative blend of jazz tradition and modern indie-pop as "homeshake meets the jazz messengers". Their third studio album"2nd Quake" is set to release on November 8th on April Records. OTOOTO, consisting of Jonas Due (trumpet and flugelhorn), Oilly Wallace (alto sax and flute), Calle Brickman (keys), Andreas Svendsen (drums and percussion), and Matthias Petri (bass), has been a fixture on both the Danish and international jazz scenes since their 2021 debut "This Love Is For You". Their new release marks a new chapter in their journey, reflecting a bold, mature artistic vision that promises to cement their place as leaders in Scandinavian contemporary jazz. "Our mission is to reflect the modern society and put a sound to its vibrations. And through this sound we seek to transmit purity, love, and joy." Navigating through a wide array of inspirations from 70"s rock and European church music, to the pioneering sounds of Jean-Michel Jarre and Vangelis, the five piece - led by trumpeter Jonas Due and saxophonist Oilly Wallace - self describe their sound as"a roaring sea of analogue synths and velvety horns". Featuring eight meticulously composed original pieces, 2nd Quakebalances strong memorable melodies with intricate orchestration, a continuous sense of groove, thick layers of texture and fearless, lyrical improvisations. A collaboration with electronic producer Sofie Birch, the record is an electro-organic sonic exploration of the union between acoustic instrumental timbres and electronic manipulation, spearheaded by the sound of the legendary Juno 106 synth alongside stellar jazz-informed musician-ship.

Following a period of five years establishing himself and blossoming into an innovative and in in-demand creative force on the New York jazz scene, 26 year old Danish pianist/composer Rasmus Sorensen returns to his home country to present his third accomplished piano trio record in two years. Combining musicianship far beyond his years with a distinctive contemporary voice, At The Right Time is set to release on November 15th on April Records. The record follows his 2022 debut Traits " which showcased his capabilities as a modern jazz composer and instrumentalist and 2024" s Balancing Act "", which saw the rising star stretch out on American Songbook classics alongside New York bassist Alexander Claffy and celebrated drummer Kendrick Scott. Now, in 2024, At the Right Time cements Sorensen s position as a trailblazing voice on his instrument whilst providing subtle nods to modern jazz piano greats of the 21st Century: there"s some Fred Hersch counterpoint, Brad Mehldau Mehldau-esque improvisational elasticity, Vijay Iyer influenced rhythmic cycles, a touch of Robert Glasper"s acoustic hiphip-hop inflection, and hints of Craig Taborn s polytonality. Featuring 12 diverse original compositions, the focus of this trio is on togetherness, with which the three formidable players bring the music to life. Jon Henrikssons bass sound holds the trio in an enveloping warmth that seems destined to become well known to European audiences. At the drums, Francesco Ciniglio, most recently heard by those audiences as a member of Wynton Marsali"s quartet, brings out the color, energy and movement sewn into the writing. The trio juxtaposes the feelings of being tightly locked locked-in and suspended in free free-floating time, and spends most of its time in the best of both rhythmic worlds.