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Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Fantastic Oakland, California-based ensemble ORCHESTRA GOLD offers up a kaleidoscope of sound deeply rooted in the Malian tradition while introducing a genre-bending nod to the future through their rare and artful fusion of African Psychedelic Rock. Spearheaded by the dynamic MARIAM DIAKITE, whose raw and hypnotic vocal stylings deliver heartfelt and thought-provoking lyrics in the highly symbolic Bambara language. While paying homage to Malian musical traditions, this fierce new sound is supported by heavy swinging rhythms, a funky fresh brass section and cosmic guitar licks.

Perpetual Doom proudly presents the new album from Earl Vallie: Ghost Approaches. Brandishing a new moniker and a reenergized spirit, Vallie teams up with producer and drummer Greg Saunier of Deerhoof to deliver a collection of boldly weird and defiantly life-affirming songs. Earl Vallie cordially invites you on a journey into the depths of the working-class artist, the neon-sludge pit where workaday drudgery mixes with outsized desires and jumbotron dreams. Ghost Approaches is a cry of resilience, what opener “Ready to Die” calls a “blood-curdled promise to set things right.” That song kicks off the record with a Springsteen-esque howl, with charging guitars and an echoing wail. It’s an appropriate sentiment for a record that begun with Vallie’s move from Joshua Tree to LA and the pandemic-borne worry that music might be behind him. But just like the burst of synths that lifts the dancefloor love affair of “Hollow Skies,” Ghost Approaches ascends with a new, bolder sound. Together with Saunier, whose drumming gives the album a gritty pulse, Vallie adds new heft to his desert-lean tunes until even the album’s darkest moments (“Reap the Seeds of Love”) exhibit a bioluminescent glow. But behind it all is Vallie’s unmistakable voice. Ghost Approaches features a remarkable range of musical contributions, from the chilling sax at the end of “My Babys Broomstick” to background vocals of Val Glenn on “Hollow Skies” and Heidi Alexander on the doo-wop inflected “Prom.” “My only goal,” Earl says, “is to uplift people with sounds and melodies that are undeniably relatable and healing for all.” It may be a ghost approaching—but it’s a good one.

Ekin Fil returns to the guitar on Dora Agora. Her earliest recordings, notably her debut on Root Strata, prominently featured guitar in this urgent expressions of a dreamy dreariness that immediately offered enthusiastic comparisons to Grouper. In her development as composer of ephemeral ghostliness for numerous albums as well as her scores to film soundtracks, that instrument has given way to keyboards, organs, synths, and various mood engineering devices, in her beautifully melancholy pursuits of an emotional emptiness through sound. Yet, the pandemic era gave Ekin pause to reflect on her creative process and she picked that instrument back up to create one of her greatest albums to date.

As direct and urgent as these songs can be, Ekin swaddles her acoustic guitar chords in soft-focus reverb and polyphonous shadow, colored with a judicious amount of shoegazing drone and somber atmosphere that speaks to her continued development as a composer. "Ghost Boy" in particular is a bittersweet, wistful tune whose arrangement harkens to Johnny Marr at his peak of effortless downer simplicity. "Farba" and "Yo Feelings" turn the emotional screws with soul-crush crescendos of vocal melodies that build upon Ekin's lonely guitar chords. Again, Grouper emerges as one of Ekin's closest neighbors, alongside Carla Dal Forno, Slowdive's Pygmallion, and Movietone.

"I really feel like I've gone back to a time when I was recording songs with a guitar and keyboard when I was very young. It's kind of like embracing Ekin from that period with my current ideas & mood. it's an homage, it's a wave, a hug from my present to my past…" (Ekin Fil, August 2022)

First released in the summer of 1966, ‘Yardbirds’ (or ‘Roger The Engineer’ as it became known’) showcases the
Yardbirds at the peak of their powers. Featuring the classic line-up of Jeff Beck, Keith Relf, Jim McCarty, Chris Dreja,
and Paul Samwell-Smith, the group explored explosive new sonic territories, pushing their blues-rock sound into the
realms of the avant-garde, psychedelia and Indian music.
• This new edition has been expertly cut from the original stereo tapes using precision half-speed mastering by
Cicely Balston at AIR Mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating
an incredibly detailed stereo image with a natural high frequency response.
• Pressed on 180g heavyweight vinyl, featuring an obi strip and housed in a poly-lined inner sleeve. Also includes a
4-page booklet with extensive liner notes by David French based on interviews with Jimmy Page, Paul SamwellSmith, Jim McCarty and Simon Napier-Bell.

We are proud to present he latest from Turbo Recordings Executive Honcho Tiga, a massive ode to passive-aggressive income remixed by Héctor Oaks, Der Zyklus, and Decius.
“No one wants to work their body anymore,” says the Montreal merrymaker from atop a throne in the exact shape of a digital wallet. “I get it. Who wants their surplus sweat equity vacuumed up off the dance floor by corporate parasites when the real future’s in decentralized skanking? But that’s why people in my position - the top one-percent in terms of nightlife and hospitality take-home pay - have to offer real benefits to risking it all in the clubs. I’m talking dance-move insurance, competitive drink ticket packages, and - most of all - the kind of brick-and-mortar bangers Rhythm Nation was founded upon back in 1814.”
While gratingly content with the original version, Tiga has nonetheless chosen to flood the Marketplace of Ideas with a plurality (3) of voices he feels will optimally position this release in today’s unforgiving Neo-Centrist landscape. This stunning grassfed vinyl 12” opens with a remix by Berlin-based vinyl-only DJ Héctor Oaks, who has been described as “operating at the absolute vanguard of rave.” Please remember that describing people this way is basically injecting them with Imposter Syndrome.
The release also features a remix by Der Zyklus, an alias of Gerald Donald, the epochal genius from Drexciya, Dopplereffekt, Japanese Telecom, Abstract Thought, Zerkalo, Zwischenwelt, and many other fantastic projects. Finally, Decius closes out the EP with all the British Mischief you might expect from UK luminaries from Trashmouth Records, Fat White Family, and Paranoid London.
"I’ve designed my entire life around the concept of ease,” adds Tiga. "I never wanted to work for a law firm. I wanted to make beats for a law firm. I’ve always been selfemployed, and that why my street cred’s off the street charts. And I’ve let as much of
that freedom trickle down to the audience as I can. Because when it comes to music,
there’s no such thing as an acceptable minimum wage. You gotta know that you gotta
give it all you got or you’re gonna get got.”

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

THE RETALIATORS MOTION PICTURE SOUNDTRACK is the high-octane original soundtrack from the award-winning horror-thriller THE RETALIATORS. It includes special appearances from some of the biggest names in rock music such as Five Finger Death Punch, Tommy Lee, Papa Roach, The Hu, Ice Nine Kills, Escape The Fate and more, both on screen and on the original soundtrack. The album is available on a limited collectors edition 180gm red & black splatter vinyl pressing housed in a gatefold sleeve with exclusive movie stills, a 24x36 movie poster collectable, blood spattered o-card and including a digital download. It is also available on digipak CD and cassette formats.

RENAISSANCE is the highly anticipated new album from global icon Beyoncé. Packed with rousing anthems that resonate with everybody, RENAISSANCE is a culmination of freedom and escape that encourages unimaginable jubilation, agency, and movement with abandon. The singular intent of RENAISSANCE, a reinvention of four on the floor, is to showcase music that stirs you from the soul and encourages your dancing feet. It is a celebration of a club era when anyone who felt like an outsider sought each other and formed a community of freedom-seekers to express themselves creatively through the rhythm, which we still celebrate today.

Includes:

2 black vinyl LPs, 180 Gram, in printed jackets w/ printed inner sleeves, 36 page booklet, and folded collectable 24”x 36” poster (1 of 3 randomized) in a hard slipcase.

Der ’CEO of good music’, Pusha T, veröffentlicht am 02.09. sein 4. Soloalbum ”It’s Almost Dry” auf Vinyl.

Der Song ”Diet Coke”, in dessen Video er mit Song-Produzenten Kanye West performt, hat bereits einen Vorgeschmack auf das Album des New Yorker Rappers geboten. Das Follow Up zu ”Daytona” umfasst 12 Songs und ist nach ”Diet Coke” und ”Hear Me Clearly” gemeinsam mit NIGO ein erneuter Beweis, weshalb Pusha T für sein lyrisches Können und seine knallharten Punchlines gefeiert wird.

High Octane is a timeless, driving EP from the 313. While 'Detroit Electronics' is on the single tip, it's 'Interplay' that will appease the 4am dance crowd. 'Electroit' is a classic left-field B Side, but for some collectors, the gliding sounds of 'Electricity' will serve as the main attraction. Overall, Philthtrax dishes up another well-rounded EP, a welcomed addition to a small vinyl catalog that includes classics like Detroit's Filthiest 'Please Play Again,' and 'Counterfeit Culture.'

Originally released in 1979 by Salsoul Records, Instant Funk is the self titled debut of Philadelphia’s nine piece group Instant Funk.

Orignially released as a single in 1978, their chart topping hit ‘I Got My Mind Made Up (You Can Get It Girl)’ synthesized the group’s racy, unstoppable sound with their fun-loving approach to funk and disco.

The 8 tracks on Instant Funk deliver the bombastic horns, hopped up guitars & impeccable vocal harmonies that earned the group a gold record and a spot on every dancefloor in New York City.

Re-issued for the first time since it’s original release, Instant Funk is available on 23rd September on limited edition red translucent vinyl.

Nathan Fake's fourth album, Providence, crafted in the wake of a crippling two year spell of writer's block. Is his most personal and profoundly emotional work to date.
.
Providence sees the British producer collaborate with vocalists for the first time, joining forces with Prurient (aka Vatican Shadow / founder of Hospital Productions) and Raphaelle Standell-Preston from Braids. Both arose from chance meetings in Geneva and Osaka as their tour schedules crossed. Prurient contributed the heavily distorted vocal to 'DEGREELESSNESS' - I was a huge fan of Dominic's (Prurient) music before we met and I love the way he situates his vocals in his productions. I really like how you can't make out what he's saying at all...' - whilst Raphaelle, who lends her voice to 'RVK', was introduced to Nathan by their mutual friend Jon Hopkins. I deliberately kept the first half of the track instrumental and I love the way her vocal lands,' he says. It's quite unexpected when she starts singing.'

It's the quickest album I've written and because of that it's got a close thread running throughout,' says Nathan of his creative process. It also has a distinct sonic signature as a result of the producer refreshing his set-up. I was feeling nostalgic and bought a cheap Korg Prophecy on a whim and it ended up being the backbone of the album,' he explains. I remember reading an article in Sound On Sound back in 1995-96 and I didn't really know much about music production then, but I remember thinking that it must be AMAZING. As it turns out, it's actually quite crap really... It's very hard to program, looks unimpressive, doesn't sound great (laughs), but I recorded it through loads of different pre-amps and tape and mixers and roughed it up. I'm always intrigued by low-end gear, I like the challenge and the limitations it poses.'

Norfolk born and bred, Nathan's first encounters with electronic music came via the radio (hearing the likes of Aphex Twin and Orbital) and reading about the equipment that they used in magazines. This was the stimulus for him to buy some gear and begin his own sonic experiments and, linking with James Holden in 2003, Nathan's early output came via his fledgling Border Community label. His debut album Drowning In A Sea Of Love' (2006) was a triumphant record, drawing a rapturous reception from the likes of Pitchfork, The Guardian and Mixmag (who hailed it among the best of the year). Recording two further albums for Border Community, Hard Islands' (2009) and Steam Days' (2012), Nathan found himself in frantic touring mode for two years and, in this nomadic state, found it impossible to write any new music. On his return, events in his personal life intertwined with, and exacerbated, this creative block. I didn't write any music at all for about two years,' Nathan explains. Overall there was roughly a three year break from writing.'

Emerging from this extended period of inactivity with renewed vigour and lust for life, Providence was recorded during the first six months of 2016 in Nathan's home studio / living room. The meaning behind the title is two-pronged: on the one hand it's a nod to the aforementioned Korg Prophecy synth that features so heavily on the record. But on a deeper level it means guidance or divine guidance' - not necessarily in a religious sense but more to be guided by a higher power - or more specifically to Nathan, music as therapy and a path out of a dark period in his life.

Super limited edition pressed on heavyweight 180g vinyl housed in a picture sleeve and clear plastic outer sleeve – never to be repressed. Only 175 units.

Tokyo-based DJ, producer and sound artist Yuu Udagawa inaugurates the freshly launched Cyphon Recordings with her debut EP, ‘Forever’.

Growing up on a cocktail of everything from rock, hip-hop and Latin jazz to techno and house, Yuu’s immersive musical output draws inspiration from this diverse pool of influences to create ‘uplifting and healing’ music for the mind and body. There’s an elegance and sophistication to her productions, which stems from her desire to make music guided by the Golden Mean philosophy of finding a middle ground between two extremes: excess and deficiency.

Active as a DJ since the millennium, which saw her playing at clubs, festivals and fashion shows across the country, she soon turned her attention to music production and has since self-released a handful of singles and contributed audio commissions for Sony Playstation3, museums, theatres and apparel brands. Yuu’s meditative pallet of sounds instantly grabbed Cyphon’s third ear which led to the tracks that make up ‘Forever’: a collection of analog slo-mo electronica and leftfield minimal house that strike a perfect balance between warmth and depth.

The release opens with the titular track: a deep, emotive electro cut punctuated by a twinkling synthline and blissful vocals. ‘Mojito’ continues the EP’s voyage into the deep, matching softly spoken word with jazz-tinged chords and meandering melodies, before ’Hug Close’ strips things back, guided by a crunchy minimal groove, warm, resolute keys and reflective synths.

The B-Side steers things on a soulful course. The dark, enveloping atmosphere of ‘Illuminated Night' is lifted by bright synth stabs and harmonic R&B-flavoured vocals. These influences continue on closer ‘Stay With Us’. Slowing down the pace, the track is a wash of shimmering funk-inspired chords and shuffling rhythms, laced once again with effortless, soaring vocal tones.

DJ Feedback:

Joyce Muniz - Nice one!

Andrew Wowk - "Mojito" is awesome - such a nice groove (followed up)

Geordie Elliot-kerr - Some really interesting stuff in here. Digging the whole thing.

Simon Caldwell - Cool and different.

Paul Beller - super star release.

Fred Peterkin - Dope...

Alex Barck - Sounds fresh to me

Ruben Mandolini – Nice

Gabriel Izarraraz - great music will play for sure

Kristijan Molnar - Very nice!

Chris Loxton - superb

Danton Eeprom - Really love the production and original vibe of this record. bring it on!

Raymundo Rodriguez - cool release

Here at last is the reissue of the most sought-after track by French New Beat band French Theory. Originally released in 2008, this tribute to Boccacio (the revered temple of New Beat and EBM, located in Belgium) struck at the heart of the movement’s soul. It quickly gained cult status for its gloomy atmosphere, heavy industrial beats and catchy melodies that propelled the classic New Beat sound into the 21st century.

Out of print since then, it’s back in a limited edition, with the added energy of a powerful remaster by cult techno and acid master Thomas P. Heckmann (Trope, Drax, etc.), plus a brand new diversion exclusive to this vinyl on the flip. Get ready to wave the white glove again, and get lost in the music!

French theory is the New Beat alias of Guillaume U. Chifflot, one of the few French techno veterans in the New Beat & Techno-house genre, who started releasing tracks in the early 90s on his own multimedia label n9. Relaunched in the mid-2000s, the label releases techno and electronica, while pioneering an upgrade of New Beat in the wake of the Techno Body Music movement.

Book of Psalms, the first ever release on the Kibir La Amlak label back in 2010. Originally voiced by Reality SoulJahs as an exclusive dubplate for Kibir La Amlak and Reality Sound System. However the You Tube video clip of the vibes in the studio received so much attention that it was decided to take the mixes back into the studio re-lick the rhythm track and put it out for release. After a session with the veteran bass and guitar player Jerry Lions (Lee Perry, Jah Shaka, Mad Proffesor) and the UK's most recorded bongo player Jonah Dan (Disciples, Inner Sanctuary) the Book of Psalms rhythm took on a new lease of life. It was then re voiced in the Kibir La Amlak studio and then taken to the mixing desk for some old school style dub mixes.

The first is the original, soulful yet bouncy and uptempo vocal piece 'Book of Psalms' from the Reality Souljahs. The vocal is a recital of Psalms 1 and Psalms 2 with a chorus that is so catchy you will find yourself still singing it days later.

This is followed by 'Meditation Dub' a dub mix of the vocal, flashing little pieces of vocal in and out with heavy delay and reverb giving the rhythm track a chance to shine through in between.

Then to offer another flavor 'Psalms 87:7' with the wonderful melodies of Ilodica as he makes his

melodica sing away in tune to the rhythm track.

Followed by 'King David Dub' a raw drum and bass centered dub mix, which shows off the bass playing skills of Jerry Lions and the razor sharp timing of Jonah Dan's bongo playing mixed and blended over the top of the steppers drum beat.

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia are set to release their debut album 'Ever-changing Light' on the 7th October via the groove-obsessed Belgian tastemaker label, Sdban Ultra.

Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's 'Head Hunters' and Miles' acid funk of the mid-70s for inspiration.

'Ever-changing Light' is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk and groove. From the loose, laidback stylings of 'Mumpsimus' and the jazz-funk odyssey that is 'Pigeons' to the sonic wonders of 'Reminiscence' and urgent flow of 'Quanked', Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of 'Oneironauts' and improv 'Pukti part 1' showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus 'Voor Pieter A.' is a magical example of the virtuosity of Lucid Lucia.

Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album 'Days of Thunder, Days of Grace' in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album 'Engines' and with hip-hop MC, writer and producer Amir Sulaiman on the 2016 album 'First Let's Dance'. The 2017 album 'Waiho', the band's first instumental album and final album received glowing praise from numerous tastemakers including UNCUT magazine, The Line of Best Fit, XLR8R and Record Collector magazine.

To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: saxophones and EWI, Bart Borremans: saxophones, Stijn Cools: drums, Dries Laheye: bass, Dries Verhulst: guitar, Jan Willems: keys and James Williams: drums and percussion, they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen and many others.

Herva started to work on 'Seez' right after the release of his last Planet Mu album 'Hyper Flux' back in 2017. He was experimenting with home-made hardware and after the album release wanted to raise the bar, challenging himself to build a point-to-point mixer from scratch. This task took almost a year of intense soldering and forced him to scrap music production. Eventually all this hard work grew into making studio hardware properly and he co-founded a new company making mixers and compressors that work with Eurorack, called Audio Gear Obsession. On 'Seez' Herva moves away completely from the sample-based music he's most known for and into programming and computational production, which he mixes and compresses with his newly-built hardware tools to give them the life and feeling he requires. There's also an element of randomness in 'Seez' as the music is generative, defined with numbers and ratios from his own software, tuned by ear rather than to set scales, with unexpected outcomes.To make the record, he spent more time digging between the different iterations of each track than coding the programs that generated them. He says "How I make music is kind of weird for most producers, but I like it, and I plan to dig further. You can think of 'Seez' as the alpha version of what I and my system are able to do." The new music still retains Herva's laid back airy feel. Each track is like a small ecosystem of chiming tones, wafting drones and skittering rhythms, hinting at formal patterns and melodies but developing on its own abstract terms. It feels as if it's the audio equivalent of watching sped-up recordings of a camera capturing different combinations of plants growing, a pleasant and curious experience to let yourself enjoy.

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

(Extended Reissue)

Double vinyl LP | Extended reissue
All tracks remastered from the original master tapes.

And here it is! For the first time ever, Zoo Folle in its full, extended glory.
This double LP contains both the soundtrack as released in 1974 (sides A and B) and previously unreleased gems (sides C and D).

Back in 2016 we put out the first official reissue of Zoo Folle. It sold out in a matter of months, leaving many vinyl collectors hungry for more. Quite serendipitously, the following year we found ourselves digging through Giuliano Sorgini's personal archives to prepare what would become Africa Oscura and stumbled upon a few mysterious reels that could be traced back to Zoo Folle. Imagine our joy when we realized that they contained the complete recording sessions of the original soundtrack, including unreleased material and never-before heard alternate versions! It was a no-brainer to start planning this extended reissue.

Already a phenomenon among collectors and experts, not only does Zoo Folle it keep winning more and more recognition, but, together with The Living Dead at Manchester Morgue and Under Pompelmo, it has established Sorgini as one of the great Italian composers of his generation.

And this is no coincidence. Zoo Folle is Sorgini's most committed and personal work. It reflects at once his beliefs as an animal rightist and his deep friendship with TV director and long-time collaborator Riccardo Fellini (brother of La Dolce Vita director Federico). It was Fellini himself who asked Sorgini to score his documentary on the living conditions of animals in zoos in Western metropolises (Rome, London and Paris in particular).

Originally broadcast by RAI in three primetime episodes, Fellini's exposé sharply contrasts the lives of caged animals with the freedom they experience in nature and wildlife reserves such as the Amboseli National Park in Kenya, Africa.

For his part, Sorgini offers perhaps his grandest score ever – a magnificent, multifaceted soundtrack that brings together a variety of instruments and the best musicians available at the time, from the lavish string orchestra recorded at the Fono Roma studios (a dream come true for someone who had not penetrated the inner circle of A-list composers like Morricone), to the angelic voice of Edda Dell'Orso, who conveys the sweetness and melancholy of the African sunset in Red, Old Skies.

Also performing on the soundtrack are exquisite soloists – all long-time friends of the composer. Nino Rapicavoli, for instance, whose flute adds a magical touch to the psycho-funk of Mad Town and the groove of Slaves, as well as Enzo Restuccia, whose afro-tribal percussions have made Ultima caccia a legendary track especially among lovers of Balearic grooves, and Enrico Ciacci, whose classical guitar soars beautifully over the nostalgic and poignant Chains. Not to mention the fact that Sorgini himself laid down the foundation tracks for the album in the small studio he had in the Prati neighbourhood in Rome, playing the piano, drums and several synthesizers.

So, what are you waiting for? Get your turntables ready for the full version of Amboseli (14 minutes of sheer bliss versus less than 6 in the original record) and for stunning, previously unreleased alternate versions of many other themes composed by Sorgini to celebrate the beauty of the savannah.

Skyline Recordings are thrilled to be releasing this incredibly modern, yet classic take of the timeless, Cry Me A River. This is an AWESOME version. On the A side, Betty Black (aka Elisabeth Troy) delivers a unique and powerful vocal; backed up with the rhythm section TFF (The Family Fortune) comprising of the incredible Pat West (guitar, drums); Andy Ross (saxophone) & Ralph Lamb (trumpet). The goosebumps come and, before you know it, you’re singing and dancing along. The horns combined with Black’s vocals gives this a real Brit Funk, Diana Krall meets Grace Jones vibe, with a side of James Bond. This is a real ‘smiler’. A great 45rpm for Betty Black’s first single. On the flip, TFF never fail to deliver a deep and inspirational instrumental featuring Kaidi Tatham on keyboards and Andy Ross on flute. Perfect DJ tool.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

All artists are well known for their outstanding sound design and mixing skills. Get carried away by pounding drums and razor sharp hi-hat patterns. Intense synth workouts, nebulous atmospheres and well-chosen floating percussion parts are desi- gned to melt the boundaries between modern sci-fi sounds and 90s techno vibes.

This release is an absolute weapon and meant to create a higher state of tension and high voltage energy on any techno dance floor. ‘Insolate – Cosmic Paranoia’. The track’s kick drum has a clear crisp knock to it while the sub-bass swells and cradles around it perfectly. The sharp acid stabs in conjunction with this make it a very stomping track while the arpeggiated synth in the background flows with the voice resonance.

‘Mode_1 – Broken Machines’ is the second track on the EP and has a bit more depth and groove to it. The massive low end grooves beautifully with the flowing synth as well as the bright variations of hi-hats.

Next up we have ‘Elias the Prophet – Masochist’ which has a very bright kick and a wobbling bass that’s sure to make your chest rumble. The tight and delicate hats loosen up creating a washing of bright noise that flows over the track while the synth continues to send you into another realm.

The fourth track ‘Joton – Ziggurat’ fits perfectly due to the distressful synth. The track’s sub swells between every fourth and first beat while giving it space to ride smoothly beneath the kick drum between these intervals. The hats remain tight while the cymbals flow over the track creating even more tension.

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

Emapea made his way into the world of beat-making after several releases and a first album in 2016.


The producer comes back with a second full-length record ‘Dreaming Zone’ to be released on the 18th of March 2022. Emapea didn’t lose his spark and brings a long player that reminds his connection to an old-school Hip-Hop style, yet always pushing towards freshness brought by the typical use of groovy piano leads and the addition of smooth vocals.

Between breakbeat and jazz, the thirteen tracks succeed each other in a delicate soundscape that favours dreaminess. ‘Dreaming Zone’ achieves a certain airiness yet thoughtfulness that will carry your spirits up in another auditive dimension.

Hoshina Anniversary offers a new LP of fluid, alchemical dance music in the shape of Hisyochi, on Impatience. Moving well beyond the initial influence of jazz fusion, electronica and his Japanese heritage, Hoshina Anniversary continues to carve deeper into his own cosm, and Hisyochi arguably represents this prolific producer at his most singular, refined and potent yet.

With nowhere to go and little to do, Hoshina was making music at a seemingly unstoppable torrent throughout the pandemic, sometimes sketching close to 100 tracks in any given month. Opening up a session from a previous track, he would erase all but one element, using it as a starting point for a completely new experiment, lending the body of work a subtle yet tangible coherence. Hisyochi was pieced together from a swathe of productions that came out of a particularly fertile period in the first half of 2021, which also birthed his recent release on Patience, Hyakunin Isshu.

Roughly translating to “somewhere cool to relax during a hot summer” according to Hoshina, Hisyochi transcends seasons but undoubtedly runs hot. Drum patterns are crisp, varied and invariably body-moving, basslines ascend at vertigo-inducing velocity, and dimly-lit jazz-bar piano is often the only element anchoring the sound to terra firma.

Following the plaintive, palette cleansing introduction of Rakka, Irahu plots the course with a light arpeggiator over a chugging rhythm before a warbly piano line to creeps in the back door. Misebayana is a jolt of gyrating mutant dance, part video game suspense and part footwork for drums and koto, while Kokoro no Heisei (Peace Of Mind) sees Hoshina deliver a salvo to stillness over a meandering, dubby spacewalk. Roman is an invigorating cut of warped dancehall tango, while the closing title track perfectly encapsulates the essence of the record and Hoshina Anniversary in 2022 in one elegant, acidic rinse.

Hoshina Anniversary is Yoshinobu Hoshina, from Hachioji, outside of Tokyo. He’s released records as Hoshina Anniversary on ESP Institute, Alien Jams and Youth, under his Suemori moniker for Osare! Editions and as Shifting Gears for Toucan Sounds, amongst others.

Hisyochi was written, produced and mixed by Hoshina Anniversary. It was mastered by Josh Bonati in NYC, and artwork is by Luca Schenardi.

They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research."

We say: Panoramic proto-techno underwater-electro library dynamite.

One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever.

As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere.

The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*.

The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb.

As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

AOTN proudly present a new solo outing from long time friend & contributor to Athens of the North, Other Lands aka Gavin L.Sutherland.

Channelling his considerable improvisational skills to evoke notions of island life, his concept was to create something that could work equally well in the wilds of the Western Isles as in the sunnier spots of the world that we all yearned to escape to at that time. The more he played with this idea of groups of islands, of archipelagos the world over, the more it also became about people themselves experiencing isolation as individuals, while still feeling a sense of togetherness with others in the same boat.

Working a little at home but mainly here at Athens of the North studios, he would come in each day over the course of a few weeks and just hit record, playing at times almost without mind. Sometimes the mood would call for keys, strings, or drums through delays for days and days. Often, the music would happen by chance as much as by design. One rule he tried to adhere to was to not overthink things, capturing moments honestly with minimal editing or digital processing.

What we've ended up with is a beautiful, spontaneous, timeless and honest meditation on what it is to be at once both alone and part of a larger whole.

Björk announces her tenth studio album Fossora - each album always starts with a feeling that i try to shape into sound the feeling was landing ( after my last album utopia which was all island in the clouds element air and no bass ) on the earth and digging my feet into the ground it was also woven into how i experienced the "now" this time around 7 billion of us did it together nesting in our homes quarantining being long enough in one place that we shot down roots my new album "fossora" is about that it is a word i made up it is the feminine of fossore ( digger, delver, ditcher ) so in short it means "she who digs" ( into the ground ) so sonically it is about bass , heavy bottom-end , we have 6 bass clarinets and punchy sub i would like to especially thank bergur þórisson and heba kadry and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet viibra and last but not least : sindri and dóa .

visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

Deluxe Edition

We’re proud to present an extravagant 51st anniversary edition of Wigwam’s game-changing prog rock classic Fairyport. What began as a projected 50th anniversary release turned into a 51st due to the current manufacturing queues for vinyl. To create the anniversary package we teamed up with Jukka Gustavson and went through a plethora of material. Gustavson hand-picked the best possible bonus materials. The legendary jam Rave-up For The Roadies, featuring Jukka Tolonen, was located in its original 36 minute form. The truncated 17-minute version is the closing number of Fairyport, but here the full version received an entire LP. Most original reels to Fairyport are lost, but we salvaged a few demo session tapes plus some eight track reels of the album’s work-in-progress stage. Four tracks were chosen by Gustavson to be added here. It should be noted that the two album session tracks feature the original violin parts, which were left off the final product. All material was mixed from the original reels by Risto Hemmi at Finnvox. The box set also features a live LP. For this Gustavson picked material from a show the band played in Stockholm while working on the album’s demo sessions. There’s an earliest existing version of Losing Hold plus a 15-minute medley of several tracks. Also included is a 20-minute live set from the first ever Ruisrock in 1970, a couple of months before the band entered the studio. Here Wigwam perform three classics by The Band. The vinyl box set is limited to 1000 copies. All material has been remastered at Finnvox by Pauli Saastamoinen in 2022.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

Finally getting a vinyl re-release is Frank & Tony’s seminal work with breakout duo Bob Moses. Back in 2012 Francis Harris and Anthony Collins (Frank & Tony) worked with their fellow New Yorkers before they went on to sign to Domino and blow up globally.
The four track EP kicks off with Elea - a deep and thoughtful collaboration utilizing Frank & Tony’s slick production with understated vocals. Next up on the A side is Holding On, featuring iconically Bob Moses vocals atop of a low-key bumping groove. There’s also washes of brass that add a new dimension to the track. Flipping over to the B side, Holy for Her (which also appeared back in 2012), is a densely wound, hypnotic rhythm, providing the basis for Tom Howie and Jim Vallance to do their special thing. Winding things up, Marigold is another early classic from the same period - a dubbed-out groove with sharp percussion and a killer, signature vocal. An essential release capturing a vital period in both outfits' development.

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Supported by a full-length film, The First Days Of Spring, which appeared a year
after the group's debut, is frequently cited as their crowning achievement.
Exploring the break-up between Fink and Marling, the album has none of the first
album's female voices, and is presented as a narrative of a split. NME said, "They
have done a hell of a lot of growing up. An immense album."
This re-issue is pressed onto high quality 180g vinyl.

Still Wednesday is the 5th album in the annual release of the Chris Webby Wednesday series. The series, which began in 2017, begins with the release of a song every 2 weeks beginning in April and culminates with the album release in December. Still Wednesday boasts potentially the strongest line up Chris Webby put together. The album features the single “We Up” featuring the DMX in an officially cleared verse and the last feature the late rapper recorded. The album also features Tory Lanez, Dizzy Wright, Millyz, Young M.A, Jarren Benton, Futuristic, Locksmith, Apathy and more! Tracks: A1. Pearly Gates A2. We Up (feat. DMX) A3. Whippin (feat. Young M.A) A4. Humble Giant A5. GO! (feat. ANoyd & Jitta On The Track) A6. Narco (feat. Millyz) B1. Arabian Nights (feat. Bria Lee) B2. Ex-Men (feat. Tory Lanez) B3. Word on Lock B4. Walls (feat. Skirzzly Adams) B5. Animals B6. Lullaby (feat. Bria Lee) C1. Raw Thoughts V C2. Politically Incorrect (feat. Nems) C3. Burn (feat. Locksmith & Apathy) C4. Playground D1. Def Jam Vendetta (feat. Jarren Benton) D2. Backdoor (feat. Dizzy Wright & Futuristic) D2. Lord Knows (feat. Justin Clancy) D3. Way Home

Over recent years, there have been countless reissue of reggae-disco rarities and slept-on classics. Soul Jazz has, surprisingly given that they first dipped into the style 20 years ago on the now legendary Reggae Disco Hustle compilation, been surprisingly silent, so it's nice to see them joining the party in fine style. Disco Reggae Rockers is a fitting sequel to its illustrious predecessor, featuring as it does a wealth of killer covers of - and more adventurous 're-versions' inspired by - vintage soul, disco and funk tunes. The plentiful highlights include Devon Russell's inspired take on Curtis Mayfield's 'Move On Up', Risco Connection's super-sweet version of Diana Ross classic 'It's My House', Valerie Harrison's interpretation of Me'lissa Morgan's 'Fools Paradise' and Hortense Ellis re-frame of Candi Staton hit 'Young Hearts Run Free'.