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First Word Records is extremely delighted to present 'Torn : Tonic' — the sophomore album from singer, performer, poet and producer, Allysha Joy.

Delivered unfiltered, straight from the soul, ´Torn : Tonic' pulls us into a 10 track journey that weaves through the multiplicity of letting go, standing tall, and creating space all at once. The album's expansive and vivid exploration of healing examines the power that comes with accepting the complexity of change. Allysha walks listeners through the remedy she finds in sound and emerges empowered to share this healing with others. Deeply moving and lyrically compelling, 'Torn : Tonic' hosts a stellar line-up of artists, creating a world of collective power, growth, and hope.

Allysha Joy is an integral member of the vibrant Melbourne soul & jazz scene, well known for both her solo work and as lead vocalist for 30/70. A uniquely-talented soul, her husky voice, and formidable Fender Rhodes prowess have garnered attentive audiences around the world.

Her 2018 debut album 'Acadie : Raw' was named 'Best Soul Album' at the Music Victoria Awards, featured in Bandcamp's 'Top Soul Albums' of the year and received a nomination for 'Best Jazz Album' at the Worldwide Awards. An incredibly prolific artist, Allysha has released on labels; Rhythm Section, Gondwana, Future Classic, Total Refreshment Centre and now another drop for First Word, after her acclaimed 2020 EP, 'Light It Again'.

Allysha's production on 'Torn : Tonic' effortlessly arches across a sonic palette, comprised of shuffling broken grooves and exquisite celestial melodies. There are healthy swathes of skippy neo-soul boom bap sensibilities, entwined with stark swing-laden electronic percussion, Detroit-esque sun-saturated synths, and Antipodean bruk backbeats. And whilst this project was produced entirely by Joy herself, she is far from alone, inviting in an array of female and non-binary artists to bless assorted tracks with their own unique gifts. Ego Ella May, BINA, Rara Zulu, Belle Bangard and Dancing Water all appear, expanding upon the formulaic roles of featured artists to share the creative space as equal collaborators.

'Torn : Tonic' exudes vibes, from the opening whiplash snare of 'Peace, to the rolling jazz-bruk of lead single 'Let It!', to the sweet soulful sonics of 'Still Dreaming', to the closing triumphant shout of "All Joy!!" on 'G.N.D.', this is a 40-minute opus that will definitely require repeat listening.

Allysha's poetic introspection reveals the album's intention to demand space, purpose, and pleasure. Her words are deliberate and direct to the alarm bells and messages her artistic vision carries. Fluid, cross-genre, and spirited with generational stories embodied, 'Torn : Tonic' sits at the intersection of a feminist manifesto of Joy's momentous leap as an artist, and her exploration of what it means to be human in today's capitalist-driven world.

In Allysha's words, 'Torn : Tonic' is exactly as the name describes. "It is looking directly into the shadow of pain and overcoming it with joy. No love songs! Just social, political, emotional anthems for change! It is the first record I have produced entirely on my own and it feels like that perseverance that I have consistently had to conjure up is embedded in this music, overcoming my own conditioning in a society and industry that constantly tells me I can't, so I must!"

Black Truffle is pleased to present Landscape and Voice, a radical new work (and rare vinyl release) from major Japanese sound artist Toshiya Tsunoda. Undoubtedly one of the most influential artists working with location recordings since the 1990s, Tsunoda’s work possesses a rigorously searching quality that sets him apart from his contemporaries. Tsunoda is known to many listeners for the subtle atmospheric poetry of his early Extract from Field Recording Archive series, which focussed on vibrations recorded in various indoor and outdoor environments in his native Miura Peninsula, often inside pipes, bottles and other vessels. In more recent years, his work has explored the implications of his claim that field recording should be seen as ‘depiction’ rather than ‘documentation’. He has explored disorienting editing and processing in his works with Taku Unami, and, perhaps most radically, represented Maguchi Bay as a kind of kinetic sculpture for shaking speakers by removing all but the inaudible low frequencies from a field recording (Low Frequency Observed at Maguchi Bay).

One of the recurrent concerns of Tsunoda’s recent work, as he explains in the crystalline liner notes accompanying this release, is ‘exploring how I can establish a subjective relationship with an environment, rather than seeing it merely as an object to be recorded’. This has taken various forms, from documenting simultaneously an outdoor environment and the blood flowing through the listener/recorder’s body (captured with a stethoscope) on The Temple Recordings, to representing his own experience of the landscape as made up of ‘grains of space and time’ by inserting looped fragments into field recordings in Grains of Spring.

On Landscape and Voice, this meeting between subject and object becomes an almost mystical union between the natural and the human. As with all of Tsunoda’s work, a relatively simple concept leads to compelling, thought-provoking results. Landscape and Voice combines vowel sounds spoken by six voices with short, looped fragments of field recordings, their noise character suggesting consonants: voice and landscape thus join together in something like words. The record consists of three pieces, each using a different, richly evocative field recording, which periodically freezes, catching on a looped fragment to which is synchronised an abruptly looped spoken vowel sound. The lengths between these interruptions vary, as do the tempi of the loops. The interruption of these lushly immersive recordings of the world – bristling with bird song, rushing water, distant traffic, and clinking metal – only serves to intensify them, as if the depicted environment itself had been returned to the listener each time it abruptly reappears. At the same time, the constant interruption creates an uncannily frozen effect, as if the recorded environment were an object rather than a stretch of recorded time. When combined with the bare human presence of the vowel sounds, the result is both austere and magical. Pressed on 45RPM for maximum fidelity, in a gorgeous sleeve designed by Lasse Marhaug with liner notes from the composer, Landscape and Voice is a radical proposition from one of the deepest thinkers in contemporary sound.

In 2020, Sahel Sounds hosted a project called Music from Saharan WhatsApp. This series consisted of ephemeral digital EPs, documenting live performances by some of the most exciting acts in the Sahel playing music, including Nigerién techno, wedding rock, Woodabe guitar, WZN, traditional music, Mandingue music, and more.

Responding to an open call from our network of artists, musicians recorded a handful of tracks on their cellphone and sent them over the popular mobile app WhatsApp. Each session was hosted for a month on Bandcamp and sold on a sliding scale, with all profits wired directly to the musicians. After a month, the EP would disappear, replaced by another one.

Now, some of the label's favorite tracks from this series are collected for the first time outside of Bandcamp as the Music from Saharan WhatsApp compilation LP. This LP features tracks by established Sahel Sounds artists such as Etran de L'Aïr, Hama, Alkibar Jr, Amaria Hamadaler (of Les Filles de Illighadad), and artists new to the label like Bounaly and Andal Sukabe.

EALZ! Records & brand new label A.D.S team up to pay tribute to the mysterious bluesman and producer : Cleo Page.

Born in Louisiana, this L.A.-based musician worked with the great Johnny Otis, hang out on Central Avenue’s clubs and possibly jammed with top West Coast bluesmen like Jessie Allen, Pete “guitar” Lewis, Jimmy Nolen, Lafayette Thomas.

Curley Page for some, Sly Williams for others, difficult to follow his career and in definitive, little is known about him despite his “big deal” recently approved by blues specialists : Cleo Page IS the man who wrote and recorded the original Boot Hill, a blues classic covered many times up until now.

Cleo Page who lived in California since 14 years-old has been crossing Blues, Rhythm & Blues and proto-Rock'n'Roll in a personal way. He will run his own labels in the heart of Watts just after the 1965 riots. Those tragic events deeply influenced his laid-back groovy sounds, powerful guitar playing, organ-driven garage Blues with strong political and social messages. Somewhere between the first electric recordings of Howlin' Wolf and… Black Diamond Heavies!

You're about to discover 12 rare tracks probably recorded between late ‘60s and early ‘70s. This brand new release includes the ultra-rare track "Black Man part. 1 & 2".
Material reissued here for the first time in an arty/artisanal trifold Vinyl LP and a bonus Vinyl 7inch

Unrestrained by notions of style or genre, there is a distinct air of freedom that permeates Picture Music, the new project from André Bratten. On what is his fifth album, the electronic visionary didn't enter the studio with the notion of making a particular type of record. Conversely, it was viewed as an opportunity to simply create - to let the music take over and guide the journey. Bringing together sparse strings, meditative synths, lingering piano chords and fleeting field recordings, the result is a collection of captivating sonic vignettes - deftly assembled into something profound and endearing. Eschewing the darker, more abrasive elements of most recent LP Silvester, Picture Music features some of Bratten's most accessible and melodic music to date - a shift in outlook no doubt expedited by the isolation of multiple Covid-19 lockdowns. These minimalist compositions ruminate on how the past two years have forced people to reconsider the concept of "normal life", as well as the birth of Bratten's second child - an experience he describes as "like death in reverse". The album title is taken from a compilation on the legendary Sky Records, a label that has been an enduring source of inspiration for Bratten along with that of Klaus Schultze's Innovative Communication. But rather than mimicking the work of these electronic luminaries,Picture Music sees him forge his own path: one that uncovers beauty in the simplicities of everyday life. Norwegian electronic artist André Bratten released his debut album Be A Man You Ant on Prins Thomas' Full Pupp label in 2013. He has since released three albums on Smalltown Supersound, and more recently produced Cracks, the acclaimed project from avant-garde saxophonist Benedik Giske. On June 10th Bratten returns with fifth studio album Picture Music.

As Motorist, LA native Joe Rihn makes music which points in the direction of the soulful, jazz inflections of artists like Wax Doctor and Peshay. Time Is Now White Vol.20 pays testament to his dexterity in creating fully-immersive atmospheres, as well as his penchant for rhythmic experimentation.

The EP's smooth-as-silk opener 'Drip' typifies this, luring you in with the psychedelic-funk tones of wah-pedalled guitar plucks, and the instrumental quality of percussion which cruises along at half-time before Amen breaks pick up the pace. 'Balamb Garden' captures D'n'B's meditative potential, driven by a dynamic syncopation which swings beneath airy pads and piano tinkles before the harder-hitting raw club track 'Caldoria' brings the A-side to a storming close.

'Blast Route' picks things right back up again, together with 'Prism', which nod more to the hardcore proclivities of the likes of DJ Die with distorted drum breaks and warped basslines. 'Rover' strips things back once more, boasting Motorist's capacity for teasing out the slower, more mellow side of 160.

Delete My Feelings is The Let Go's debut EP on Chess Club Records. The mixtape features self-produced bangers 'Woke' and 'Vegas' as well as current single 'Last Year's Model Club', which features additional production from Oscar Scheller (PinkPantheress, Arlo Parks, Ashnikko). The Let Go are Cole and Scout, 19-year-old Washington natives who relocated to the UK to attend LIPA in Liverpool. They write and produce all their own work together, with influences ranging from The 1975 and Billy Joel to Brockhampton and Dominic Fike, drawing influence from bedroom pop, hip hop, punk, indie and everything in between to create their own unique sonic landscape made for the here and now. Since releasing 'Woke', The Let Go have been featured on BBC Radio 1 as Jack Saunders’ Next Wave, and in tastemaker publications like FADER, DORK, DIY, CLASH & on NME's playlists. The duo will be heading out on tour with The Night Cafe and Daisy Brain in February, and with packed rooms at Sound City and Live at Leeds festivals under their belts already, The Let Go are poised to become one of the most exciting new acts in the UK in 2022.

Delete My Feelings is The Let Go's debut EP on Chess Club Records. The mixtape features self-produced bangers 'Woke' and 'Vegas' as well as current single 'Last Year's Model Club', which features additional production from Oscar Scheller (PinkPantheress, Arlo Parks, Ashnikko). The Let Go are Cole and Scout, 19-year-old Washington natives who relocated to the UK to attend LIPA in Liverpool. They write and produce all their own work together, with influences ranging from The 1975 and Billy Joel to Brockhampton and Dominic Fike, drawing influence from bedroom pop, hip hop, punk, indie and everything in between to create their own unique sonic landscape made for the here and now. Since releasing 'Woke', The Let Go have been featured on BBC Radio 1 as Jack Saunders’ Next Wave, and in tastemaker publications like FADER, DORK, DIY, CLASH & on NME's playlists. The duo will be heading out on tour with The Night Cafe and Daisy Brain in February, and with packed rooms at Sound City and Live at Leeds festivals under their belts already, The Let Go are poised to become one of the most exciting new acts in the UK in 2022.

SUMMER OF SOUL (…Or, When The Revolution Could Not Be Televised) Original Motion Picture Soundtrack accompanies Ahmir “Questlove” Thompson’s directorial debut documentary SUMMER OF SOUL, which won the Grand Jury Prize and Audience Award at the Sundance Film Festival. Like the documentary, most of the audio recordings that were recorded during the 1969 Harlem Cultural Festival have not been heard for over 50 years, keeping this incredible event in America’s history lost – until now. The SUMMER OF SOUL (…Or, When The Revolution Could Not Be Televised) Original Motion Picture Soundtrack is a joyous musical celebration and the rediscovery of a nearly erased historical event that celebrated Black culture, pride and unity. For the album, Questlove carefully selected 16 live renditions of jazz, blues, R&B, Latin, and soul classics performed over the course of The Harlem Cultural Festival in 1969 as chronicled by the film. Performers include The 5th Dimension, Gladys Knight & The Pips, B.B. King, Nina Simone, The Staple Singers, David Ruffin and Sly & The Family Stone! Extensive promo & marketing activity across all media outlets. The CD format was released in Jan. Standard black vinyl 17 track double LP in gatefold sleeve. Promo/marketing activity.

Available for the first time as a Picture Disc! While Edan’s critically acclaimed debut, ‘Primitive Plus’, was a celebration of hip-hop’s golden age and a true throwback, his sophomore album, ‘Beauty And The Beat’, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the "100 Best Indie Hip-Hop Records of All Time" list. In 2013 NME placed it at number 392 on the "500 Greatest Albums of All Time" list.

“A Psychedelic gem. It’s like ‘The Grey Album’ in technicolour” – Vice

“This is a record that exults in the joy of musical creation. It should prove impossible not to love” - The Times

“Perhaps one of the greatest US hip-hop album you’ll hear” – DJ
NME 8/10

Pitchfork 8.8/10

MOJO ****

Uncut ****

Stylus A-

HipHopDX 4.5/5

Entertainment Weekly A-

Available for the first time as a Picture Disc! While Edan’s critically acclaimed debut, ‘Primitive Plus’, was a celebration of hip-hop’s golden age and a true throwback, his sophomore album, ‘Beauty And The Beat’, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the "100 Best Indie Hip-Hop Records of All Time" list. In 2013 NME placed it at number 392 on the "500 Greatest Albums of All Time" list.

“A Psychedelic gem. It’s like ‘The Grey Album’ in technicolour” – Vice

“This is a record that exults in the joy of musical creation. It should prove impossible not to love” - The Times

“Perhaps one of the greatest US hip-hop album you’ll hear” – DJ
NME 8/10

Pitchfork 8.8/10

MOJO ****

Uncut ****

Stylus A-

HipHopDX 4.5/5

Entertainment Weekly A-

ANATHEMA'S NIGHT OF ETHEREAL DOOM METAL MAGIC FROM
KRAKOW, POLAND, 1996, WITH A SELECTION OF CLASSICS FROM THEIR FIRST TWO ALBUMS - PRESENTED ON VINYL FOR THE FIRST TIME'A

Vision Of A Dying Embrace' contains a night of spellbinding Doom Metal from Anathema's live show in Krakow, Poland, in 1996 Whilst still reasonably early in the career of the band & with rhythm guitarist Vincent Cavanagh taking on vocal duties only relatively recently for the sublime 'The Silent Enigma' opus, the set contained a whole selection of now-established classics from Anathema's first two studio albums & 'Pentecost III' EP, with epics like 'A Dying Wish', 'Sleepless', & 'Mine is Yours' captured in their purest & rawest form in the live setting. Anathema has spent most of their career making music that defies description. As part of the "Peaceville three", along with Paradise Lost & My Dying Bride, Anathema have carved a strong legacy since their inception at the turn of the 1990's, to become a widely revered & respected band within both the metal world & beyond, as their sound & compositions progressed from doom/ death metal into more rock & progressive territory with each subsequent release, becoming one of the UK's most cherished & critically acclaimed rock bands. This edition of 'A Vision Of A Dying Embrace' is presented on the vinyl format for the first time & includes printed inner sleeve.

An appealing blast of West Coast new wave, with good songs played with
blistering intensity
The late 1970s and early 1980s were an explosive and exciting period for
music and the local San Francisco music scene was no exception
Jack Casady had been playing constantly from 1965-1972 as Jefferson Airplane,
continuing on as Hot Tuna on through 1977. Hot Tuna took a bit of a break and
SVT was born of this period, and these recordings represent this period so well.
Brian Marnell, Paul Zahl, Bill Gibson, Nick Buck and Jack Casady made some
exciting and somewhat furious music during this time period, bringing back such
memories of all of their live shows

Since his debut with the "Darling Darling Darling"track, immediately spotted by the media as well as by electronic music lovers, Louis Warynski has continued to evolve a world that belongs to him alone, over the last ten years and eight albums.Like Lewis Caroll's universe, Chapelier Fou's music is multiple, simple and complex, serious and light, classic and modern. Louis Warynski's work is woven on a classical basis, but it is constantly disrupted by subtle electronic arrangements and rhythms, thus taking the tracks outside of all convention.We find in Chapelier Fou the facetiousness of French composers such as Erik Satie, François de Roubaix or Robert Cohen Solal, not hesitating to blend pop and concrete music, but also this formidable capacity to make serious what is not serious, and vice versa of course. His music, very much at home on screen as well as on stage, has everything that makes up the trait of genius composers: accessible in appearance and adaptable in all forms. This is how Chapelier Fou has performed on stage as a soloist, juggling between violin, guitar, keyboards and pedals, in trio, quartet and even in orchestral formation with the Orchestre National of Metz. Often described as "electronic chamber music", it was expected that one day Chapelier Fou would offer us a version of his music without a single electronic or electrified part. It is now done with this Ensemb7e who performed on the stage of L'Arsenal de Metz, broadcasted by Arte Concert. Chapelier Fou Ensemb7e has received direct support from a wide audience, but also from venues programmers where the septet has been performing since June 2021. Ensemb7e stands for a mainly wooden septet: violin, viola, cello, piano, clarinet and drums accompany the multi-instrumentalist composer. It's hard to resist such musical enthusiasm! The magic happens immediately because the re-reading of these little jewels in pop format gives a touching and fulfilling dimension to Chapelier Fou's work: even more dreamy versions, sometimes more mischievous, but the richness of the classical instruments and the obvious pleasure of the musicians in interpreting them give a new life to all these titles that have filled us with wonder. It therefore seemed obvious to us after listening to his Ensemb7e concerts that there was more than a concert to be recorded, but a real album to offer. A studio album, but with the energy and vitality of a live one, produced with the care and generosity of Thomas Poli (who has collaborated with Dominique A, Yann Tiersen and many others).

To celebrate the 25th Anniversary on 25th March 2022, the diamond-certified GRAMMY®-nominated double-disc opus will be released as a 25th Anniversary Super Deluxe Box Set on June 10, 2022. The Life After Death 25th Anniversary Super Deluxe Boxed Set consists of 8-LPs and a commemorative booklet featuring rare photos from the album cover shoot, liner notes by Sheldon Pearce, and exclusive reflections from members of the team who worked on the original album release. In addition to the original album, it includes the Hypnotize 12”, Mo Money Mo Problems 12”, Sky’s The Limit 12”, and Nasty Boy 12”.

Life After Death features 112, Jay-Z, Lil’ Kim, Ma$e, Bone Thugs-n-Harmony and Too $hort, along with tracks like “Kick In The Door,” “What’s Beef,” “Notorious Thugs,” “Ten Crack Commandments” and “Sky’s The Limit,”. The album hit #1 on the Billboard 200 chart and the US Top R&B/Hip Hop chart. It went diamond in the U.S. alone, double platinum in Canada, and platinum in the UK. The album received a GRAMMY® nomination in the category of “Best Rap Album.” “Hypnotize” earned a GRAMMY® nomination for “Best Rap Solo Performance,” and “Mo Money Mo Problems” was nominated for “Best Rap Performance by a Duo or Group.” Among dozens of lists and retrospectives, Rolling Stone touted Life After Death among its coveted “The 500 Greatest Albums of All Time.” The RIAA has awarded the album a Diamond Certification for more than 5 million copies sold of the double-LP.

Bobby Oroza puts his desire for the profound on wax with his sophomore album Get On The Otherside. Musically, he has updated the formula we were introduced to on the first record. But lyrically, songs are bravely rooted in the more complicated, ubiquitous inner tangles of life like self-examination and coming to terms with the vastness of the human experience. With Coronavirus bringing the world to a halt, Bobby-a father and husband-had to do something. No tours to play or studio time to fill, Bobby found himself back in the construction yard, doing blue-collar work to provide for his family. "I was super grateful for the work-a lot of my colleagues didn't have an option like that," Bobby admits. More than a few personal hardships forced him to acknowledge and work through some brutal truths. And what came of it? Well, for one, this new record Get On The Otherside which pretty well describes what Bobby's been through: He had to demolish his ego, his old ways of thinking, and his tried approaches to anchor into a refreshed perspective with new understandings. As Bobby tells it, "I had to do some real self-searching, come to terms with what was wrong, and how much of it I was responsible for." So how does this translate to the new album? Moments of clarity as to where the real value in life lies on "I Got Love," encouraging numbers like the title track "The Otherside", and declarations of self actualization on "My Place, My Time." Even the more straightforward love songs are outside the box lyrically like "Sweet Agony" and "Loving Body." If you have never had the pleasure of catching one of Bobby's live shows you may have no idea that he is a maverick on the guitar. He lets us in on a little of that on "Passing Things" with a solo that possesses the same restrained and space that his lyrics do. As we'd expect, the songwriting still has that raw, direct edge to it. But an evolution has taken place. There are new points of view on familiar territory which in Bobby's words "For me to love, I needed to take a bigger view of love. One with less ego and more empathy" really hold true. The result is a record with Bobby's new found humility on full display and a message of encouragement to anyone who is struggling and can't see a way out. It still may be hard to nail down and define Bobby and his sound. He's no one thing more than the other. But what he's showing us now, on Get On The Otherside, is that we can also label him a soulful, philosophical optimist. Someone who can say a lot with a little, and who wants us all to know that it's us that has to do the hard lifting to truly live a life in love-both with the world and with yourself.

Pan Daijing's exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-act immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing's artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long audio excerpt: an invaluable archival document from Daijing's expansive live practice. Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work_its libretto written in a mixture of old and modern Chinese_lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four acts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief. Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019 Composed, written, produced and directed by Pan Daijing. Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing, additional vocals. The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. *2xLP comes in a gatefold cover, and includes an obi strip and a booklet containing images from the performance & liner notes, as well as a postcard granting access to exclusive video documentation*

Purple Vinyl

A Leftfield journey of rockin' sleezy disco edits! It feels like something weird and sinister is going to happen from the moment you drop the needle and keeps that energy throughout. Limited Heavy weight colored vinyl. Fans of DJ HARVEY, RON HARDY, PATRICK COWLEY and THEO PARRISH take notice

First ever reissue of one of the most sought after titles in the catalogue of Peruvian's label MAG, in high demand not only among Latin music collectors but also among those interested in the most exotic and experimental psychedelic sounds around. - It includes 'Astronautas a Mercurio', a cosmic descarga full of electronic effects, filtered voices and fierce guitars with wah wah and raw distortion, as well as guarachas, cumbias and descargas. - Details: Hugo Macedo was a member of the first sonora in Peru, directed by his brother: the Sonora de Lucho Macedo. His brothers were the singers of the band while he performed as a timbalero. After nine years he founded the Sonora Casino of Hugo Macedo in 1964, later incorporating his wife, Lucía "Pochita" Rivera as a vocalist. "Trompeteros" was released on the Peruvian record label MAG in 1972. Previously, the Sonora Casino had already recorded several albums for Philips since the mid-60s. At the time their repertoire was fed by rhythms such as cha cha cha, bolero, guaracha... Their MAG period would start in 1970 with the album "Pochita y la Sonora Casino de Hugo Macedo" in which Hugo Macedo's wife was granted with an important visual presence on the front cover, with a similar follow-up on "Trompeteros", creating some confusion since vocalist Pachito Nalmy was the actual main singer on the record. The vocalist, who hails from Callao, demonstrates here a great vocal versatility as captured on songs like 'Guajira del amor', with a heavy rhythm that will surely delight boogaloo lovers, or the bolero number 'Pasa, pasa', being both songs own compositions of the multitalented Nalmy. Guarachas, descargas and cumbias complete the offering of this fantastic album, one of the strongest tropical LPs in the MAG catalogue. But the real banger here is the almost magical 'Astronauts to Mercury', a cosmic descarga full of electronic effects, filtered voices and fierce guitars with wah wah and raw distortion, closer to the sound of any psychedelic recording than the classic tropical sound of La Sonora Casino, and right next to those elements, an impressive brass section that boosts the intensity of the song to the highest levels. It is not surprising that "Trompeteros" has become in recent years a highly sought-after album not only by Latin music collectors but also by those after the most exotic and experimental psychedelic sounds around... Pablo Iglesias aka DJ Bongohead

HIGHLIGHTS! Acting as an artistic ambassador for Cuba, the Orquesta Revé made several tours abroad, traveling to Peru in 1971. This extremely scarce LP was recorded for MAG in Lima and comprises mostly Cuban songs -like the outstanding Vicente Rojas' original 'Mi Son Combinado'- and also a rare cover of Jorge Ben's 'Domingas'. Quite an invisible record even for hardcore collectors, and almost impossible to find in any condition, "De Habana a Lima" is now reissued for the first time. More: In 1956, the percussionist and composer from Guantanamo, Elio Revé, founded the orchestra popularly known as La Revé, which in the space of a few years became the Cuban music group par excellence for foreign audiences. Elio, dubbed the father of changüí for his seminal work on this genre, is also considered one of the forerunners of salsa music and his orchestra included musicians of the stature of vocalist Ibrahim Ferrer; pianists Chucho Valdés, César Pedroso and Juan Carlos Alfonso; and bass guitarist Juan Formell, who left the group in 1969 to form Los Van Van. Acting as an artistic ambassador for Cuba, the Orquesta Revé made several tours abroad in the seventies, traveling to countries such as Spain, Belgium and the People's Republic of Angola, and these journeys are well documented on the internet. However, little is known about their trip to Peru in 1971_ The local record label MAG quickly signed the Cuban groups that arrived in the Peruvian capital and that the head of the label, Manuel Guerrero, agreed to record. The La Revé LP was followed by a Los Compadres album the following year. "De Habana a Lima..." comprises a dozen songs labeled changüis, mostly written by Cuban composers, the exception being the closing track: 'Domingas', an original song by Brazilian artist Jorge Ben. In contrast, the album opens with the distinctly Cuban song 'Guajira guantanamera'.

"The dazzling symphonic album he always threatened to produce" UNCUT 5/5
"A soulful symphonic masterpiece" ROLLING STONE

Originally released in Japan only on CD in 2002, Plush's Fed lives up to the cult-like adulation it has garnered ever since. A stunning symphony of Bacharach-inspired pop, Toussaint-swing andMelody Nelson-era-Gainsbourg, it's an album bound together by Liam Hayes' maverick genius, an uncompromising Brian Wilson-esque quest for sonic perfection. Positively indulgent in every way, this sumptuous record has long deserved to be treated to a deluxe vinyl edition. Lovingly overseen by Hayes and recent collaborator Pat Sansone (Wilco/The Autumn Defense), it will finally be available on the format it should've always been, this Record Store Day 2018. Remastered and presented as a double LP - cut specially at 45rpm - it comes housed in a beautiful gatefold jacket with expanded artwork throughout.

Its expansive, singular vision infamously took years to realise, involving Earth Wind & Fire's horn arranger (the legendary Tom Tom MMLXXXIV) amongst other elite personnel. Recorded with five different engineers (including Steve Albini and John McEntire), Hayes meticulously extracted every ounce of pop from each note. A long list of renowned studio ringers (including soul drummer Morris Jennings) and Chicago regulars (McEntire, Rizzo, Parker) among many others provide playing of demonstrably professional precision. As such, Hayes' complex, meandering melodies are rendered far more coherent and satisfying than they otherwise might have appeared, bringing his epic, anguished pop to a rarely seen level of perfection and depth. This unstinting dedication to the overarching vision was rewarded handsomely - artistically, at least.

However, as might have been expected, his deluxe approach resulted in a bill too steep for any American or European label to ultimately support. It has since seemed unlikely that it would see the light of day on either side of the Atlantic. Yet we were determined not to allow Hayes' lifetime achievement to go unnoticed or let music fans across the world miss out on one of the finest albums of this century.

A wide-eyed opus of stunning intensity, Fed oozes Hayes' impeccable influences without ever becoming overwhelmed by them. Incredibly, it touches upon Blaxploitation soul, Boz Scaggs-soft-rock, hints of jazz and blues, timeless baroque and skewed pop. In one long minute, the stabbing, soulful "So Blind" moves through five different melodic segments, horns shift easily from haunting backdrop to explosive forefront, smoothly giving way to strings as Hayes' voice casts its bewitching spell. The ambitious soul of "Having It All" has been described as the diffident cousin of Marvin Gaye's "Save The Children" whilst the breezy "Greyhound Bus Station" is pure 70s AM Gold, evoking the easy warmth of Jimmy Webb's beloved Land's End period. The sublime resignation of "No Education", a beautifully slow number that begins, "Never read a book in my life/ But I feel just fine" is post-rock ballad heaven. Arriving towards the end, the title track arrives as a majestic suite, moving from a horn-and-guitar-led instrumental via shifting melodies to Hayes' compelling vocal bursts.

An album of such brilliance, Fed can comfortably sit alongside such staggering statement pieces as David Bowie's Young Americans, Randy Newman's 12 Songs or Harry Nilsson's Nilsson Schmilsson. Indeed, for all the sprawling elements that went in - lengthy guitar builds, exploding horn sections, solemn strings, female backup chorus - it is a deeply personal and original record. Employing a distinct "more is more" aesthetic, he demonstrates remarkable restraint in producing an album of such intimacy. "My creation has drowned me," he memorably sings on languid opener "Whose Blues", yet he navigates the shifting styles and ideas with enviable ease.

A thin patch of fog has comfortably placed itself in the middle of the valley. Sleepy oaks and pines encircled the small valley, giving it a protection from an unwanted eye. 3 women danced freely in-between open flames. It seemed like the fog did not mind this and only embraced their bodies in a mutual dance. Every move, every sway and every step igniting the flames brighter and brighter. Nobody would ever know though, as the trees still stood guard.

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Thrown is a producer from the North of Czech Republic, who already made his first appearance on Moving Pictures’ V/A compilation in 2020. This time we are happy to welcome him back with his own vinyl EP titled “Between Two Flames”. Liberec based producer delivers a three-tracker tale, complemented with a fourth track - a remix by label’s own duo Aerial. Nostalgic, melancholic, happy, hypnotic? This is for you to feel and decide.

Benefits are an issues-based music collective from Teesside in the
North East of England. They write songs about the urgencies that
concern them, and they play them loud.

Forming in 2019 and consisting of Kingsley Hall on vocals, Robbie
Major and Hugh Major on synths and noise, and Jonny Snowball
on drums, they quickly evolved from a standard shouty punk rock
outfit into a minimalist, overtly political band that merges noise,
hip-hop and industrial rock, creating an effect that feels urgent,
darkly hilarious and unsettling all at once.

Thus far, Benefits have been completely DIY yet, via a succession
of digital singles and accompanying videos through 2021, they
built a following that enabled them to complete a sold-out headline
UK tour in March 2022. They also gained fans in high places,
including Sleaford Mods, Black Francis, Garbage and Elijah Wood
and Steve Albini.

James and Ryan of Yard Act were also instant admirers and that’s
where their label Zen F.C. comes in. Using their ill-gotten major
label gains Zen F.C. are pressing Benefit’s single ‘Flag’ (backed
with ‘Empire’) on vinyl.

On working with Yard Act, Kingsley comments: “I think Benefits
come at some of the same subject matter that they talk about but
from a slightly different angle (and by ‘slightly different’ I really
mean ‘more frequent swearing’, though we've never said the C
word in a song unlike...ahem). We appreciate every bit of help
we’ve had off them, we just wish we could somehow repay that
kindness (not monetarily mind, we're totally skint).”

Yard Act’s James Smith says of the release: “Lots of bands are
saying all this stuff so what makes Benefits so special? Why do I
need to be told what I already know over and over again by a
shouty man from Teesside? Well, because no one else is saying it
with such physicality they sound like their voice box is about to
leap from their throat and eat your eyeballs. With that little bit of
influence we’ve garnered and the small fortune of money we now
have kicking about, I’m so glad we can play a part in spreading the
word on Benefits, because I think they’re well on their way to a
classic debut album, and I’m going to fucking love being able to
brag about how important I was in making it all happen.”

Satiric glam band Steel Panther are known for their ridiculous concepts and hilarious lyrics, in combination with skilful musicianship. Their dedication to the concept caught on quickly and resulted in endless sold-out shows and commercial success. In 2011 they released their second studio album Balls Out, which features guest appearances by Chad Kroeger, Nuno Bettencourt and Dane Cook. Subtlety is not what this album is about, with titles such as “Supersonic Sex Machine”, “It Won’t Suck Itself” and “Let Me Cum In”. The album was even indexed in Germany and is only allowed to be sold to adults after request.

For the label’s next release, the team at Leng Records has decided to offer-up something a little bit different: a 12” compilation of little-known and hard-to-find Balearic gems selected by friend of the label Paul Beckett.

Plucked from the dusty corners of his collection, the five tracks on show are quietly colourful, tactile and musically rich excursions that effortlessly blur the boundaries between genres and sound terrific blasting from speakers on a humid Mediterranean or Adriatic afternoon.

First up is Ray & John’s languid, subtly disco-tinged ‘Day By Day (Instrumental)’, which originally featured on the flipside of the Italian duo’s sole single from 1984. Rich in rubbery bass guitar, sequenced synth-bass, sharp disco guitar licks, Fairlight stabs, dreamy chords and occasional chanted vocals, it sounds like Please-era Pet Shop Boys reclining at a Rimini pool party after copious amounts of happy pills.

It’s followed by Angel’o’s ‘Angelo’, a turn-of-the-80s gem picked from the band’s long-forgotten album, Dream Machine. Marked out by warming electric piano motifs, squelchy synth-bass and hazy lead vocals, the track successfully mixes krautrock and space rock sounds with the then fresh sound of synth-pop.

Next up is All Trouvee’s ‘Darling’, a thoroughly overlooked 1987 single whose minimalistic sleeve artwork lists each of the now-classic – and then cutting edge – synthesizers used to make the sun-soaked blend of mid-80s synth disco, AOR pop and sunset-ready jazz-funk piano solos.

Equally as impactful is Angel’s ‘Tomorrow Night’, a classic – if little-known – chunk of glossy, laidback synth-pop from 1980 that sounds like something you’d hear on AM radio stations in the early hours of the morning. Its’ sound – all delay-laden Linn drums, synth-horns, Nile Rodgers style guitar licks and echoing lead lines – was actually far sighted for the time but would become more familiar to listeners as synth-pop boomed in the mid 1980s. Those who buy the digital version of the EP will also have access to a longer, club-style mix as well as the short version featured on the 12”.

Rounding off a fine package is ‘Feeling Action’ by Eggs Time, a deliciously warm and woozy chunk of fretless bass-sporting Italian pop/West Coast jazz-rock fusion plucked from a real since of buried treasure: an Italian compilation called – for reasons that aren’t clear – Moby Dick. There’s certainly a tinge of both yacht rock and blue-eyed soul about the track’s gorgeous blend of FM synth sounds, eyes-closed jazz guitar solos, unfussy beats and sweet female lead vocals. It provides a fittingly horizontal finish to a collection packed to the rafters with long-overlooked, sun-baked treats.

Picture yourself cruising around Tuscany in an Alfa Romeo, stopping off at the localpizza joint, spending the night playing snooker next to the swimming pool. PyschoWeazel take us straight back to the 80s with their vintage synths and hair spray hairstyle with the “BIANCO&ROSSO EPs”. Put on your nicest shirt, put your sunglasseson, get your pair of santiagos out, it’s your time to shine on the dancefloor!At the very edge of good taste, always with a pinch of fun and self-mockery, these sixtracks sound like the future of hedonist club music, 2022 style.These two EPs are a bit like both sides of the same coin. They include influencesthat shaped the duo’ssound: indie-Dance, Italo-disco, Cold Wave and EBM. PsychoWeazel used production techniques popular in the 80s: arpeggios, cowbells, snarerolls, re-claiming ear-catching melodies from that era and offering it with their freshand polished sound.

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years; principally in his collaborations with the former Fela and Femi Kuti keyboardist, Dele Sosimi, and with the pianist and composer Kishon Khan, most recently in his groups Lokkhi Terra and Cubafrobeat. He has also worked with the likes of Afrobeat drum legend Tony Allen, and with the Cuban giants Giraldo Piloto, Julito Padron and Changuito. Thurgur is also a member of the seminal English folk group Bellowhead.

'Many Faces' brings together this musical journey, with Afro-infused grooves and nods towards Cuban Jazz and Dub, with Thurgur's early passion for the likes of Miles Davis, Coltrane, Lee Morgan, Wayne Shorter, Herbie Hancock, et al....

It features both Khan and Sosimi, who have contributed as co-writers as well as bringing their own inimitable sounds on piano, rhodes and hammond organ. Alongside them are some of the leading musicians on the UK's African, Cuban and Jazz scenes, plus collaborations with rising star singers Jade Pybus and Sahra Gure.

Justin Thurgur - trombone (and some additional keys)

Graeme Flowers - trumpet and flugel horn

Simeon May - tenor, baritone and alto sax

James Allsopp - bass clarinet

Jade Pybus - vocals (on 'Woman')

Sahra Gure - vocals (on 'Be A Little Wiser')

Kishon Khan - piano, rhodes and hammond organ (on tracks 1,3,4 and 5)

Dele Sosimi - piano (on tracks 2 and 6) and vocala (on track 6)

Phil Dawson - guitar

Suman Joshi - double bass (except track 5)

Jimmy Martinez - double bass (on track 5)

Tansay Omar - drums (on tracks 1,3 and 4)

Kunle Olofinjana - drums (on tracks 2 and 6)

Yoann Julliard - drums (on track 5)

Afla Sackey - congas and djembe (on tracks 1,2 and 6), shekere and cowbell, and vocals (on track 6)

Oreste 'Sambroso' Noda - congas (on tracks 3 and 5)

Evie Hilyer-Ziegler - violin and viola

Paul Sartin - violin

Track 1 written by J Thurgur and S Gure

Tracks 2 and 6 written by J Thurgur and Dele Sosimi

Track 3 written by J Thurgur

Track 4 written by J Thurgur and J Pybus

Track 5 written by J Thurgur and K Khan

Recorded at Fish Factory by Simone Gallizio and Sean Douglas, at Boneman Studios by Justin Thurgur, at Better Pass Your Own Studios by Phil Dawson, at Thank You Please Studio by Kishon Khan and at 224 Studios by Matteo Musetti.


Mixed at Hi Street Studio by Mauro Caccialanza.

Mastered at Gearbox by Caspar Sutton-Jones.

Artwork by Matthieu Dufour

Photos of by Siobhan Bradshaw, Justin Thurgur, Stephanie Sian Smith,

Chantal Azari, Alex Bonney, Heather Hoyle, Nicole Thurgur, Joanna Mendel, Tansay Omar, Richard Gearey, Faye Hilyer-Ziegler and Svetlana Onye.

The second album from Wehrmacht, “Biermächt” saw the band maturing while still retaining their Thrashcore roots. Released in mid-1988, “Biermächt” featured a slightly cleaner production than the one found on their debut album. To some fans this rendered the album with much less intensity, but to our ears the sound was still very powerful. The massive reverb used on the first album made “Shark Attack” sound like a true shark attack and only added to the overall intensity. This time around the drums are more compressed and some blast beat parts tend to get lost in the overall blur of things. But on the same token, the guitars are much sharper sounding. Marco Zorich and John Duffy were truly evolving as guitar heroes. The thing that is really great and different compared to “Shark Attack” are the funny bit songs. We love them and enjoy them. A lot of the songs on “Biermächt” were leftovers from their demo days, including the phenomenal “Night Of Pain”, one of our all time favorite Thrash songs ever, but newer stuff like “Radical Dissection” and “Balance Of Opinion” showed the band handling a more mainstream Thrash sound somewhere in the middle of a Slayer/Kreator sound and Metallica/Megadeth. There is a certain progressiveness to those songs that hint to a more elaborate musical future. “Biermächt” is a very strong Crossover/Thrash album with a laid back party vibe to it. The sound, however, is very in-your-face. This is not a subtle album by any means. It’s not that they were the funniest bunch around (their side project Spazztic Blurr went a lot further). But Wehrmacht did have their own specific sound (mostly because of the vocals and guitars). Especially after all these years it becomes obvious all Crossover lovers and Thrashers from those days do in fact have this album and hold it dearly. The album has historic importance as well as huge sentimental value. Biermächt is a landmark in eighties Crossover Thrash and should be checked out immediately by all newbies.

Kavinsky is a zombie who came back from the dead after his Testarossa crashed in 1986.

His first song, "Testarossa Autodrive", was an instant success, and was followed by two singles. In 2007, he was chosen by Daft Punk to open their now legendary "Alive" tour.

In 2011, his track "Nightcall", produced with Guy-Manuel de Homem-Christo, became the theme song for the film "Drive", and consequently a worldwide success.

Kavinsky's first album, "Outrun", was released in 2013, followed by a collaboration with The Weeknd on the song "Odd Look".

In 2022, Kavinsky is back with "Reborn", his second album recorded at the famous Motorbass studio in Paris, due March 25th. While recording it, Kavinsky had this special project to record a sequel to his hit song "Nightcall", which after all sounded almost like a movie scene. This sequel would be called "Zenith".

Therefore, like in the original, he composed a duet between a girl and a man, but reversed:
the verse is sung by the woman, the chorus by the man.
Prudence (formerly from the successful duet The Dø) is the female vocalist, Morgan Phalen (who sung with Justice and is the vocalist of the band Diamond Nights) plays the male character along with a special guest: the saxophone.

"Zenith" showcases Kavinsky's romantic side on a muted and futuristic sound.

Mondo, in conjunction with Hollywood Records and Marvel Music, is proud to present the premiere physical release of Joel P West’s original score for Marvel Studios’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS.

Joel P West uses a delicate and inventive mix of Chinese instruments like Tanggu drums and Ehru, mixed with Western symphonic instruments, to symbolically build on the themes and conflicts of the film. Beautifully bridging Shang-Chi’s epic journey from San Francisco to Ta Lo, the score is absolutely gorgeous from beginning to end.

Composed by Joel P West
Artwork by Dani Pendergast
Manufactured in Czech Republic

A question popular among followers of Thrash Metal is undeniably this, “Which is considered the fastest Thrash Metal album of all time?”. There would be a high percentage of answers supporting “Reign In Blood”, Darkness Descends” or “Pleasure To Kill”. Now here’s a startling reality. Wehrmacht’s debut album makes those albums sound as if they were meant to be listed under progressive Metal. The sheer ferocity of these guys is enough to convince you why they were considered the fastest Heavy Metal band in the underground. So what is it that makes this record worthy of being called an underground classic? Right from production to musicianship, the concoction of several different ideas results into one colossal and inevitably unique style of their own. Many of you would probably wonder that there might just be a natural leaning towards sloppy playing especially considering my description of their astoundingly fast nature earlier. But the major surprise here is that all the musicians are extremely tight and precise with no single riff, solo or beat falling out of place. Tito Matos is one of the most versatile Thrash singers one has ever heard till date. His clarity of words and ability to keep up with the rest of the band with his lightning fast singing is simply commendable. The songs in here are all ridiculously speedy pieces of Thrash Metal with practically little or no remorse for the listener. The title track with that brilliant rendition of the famously eerie “Jaws” theme kicks off the onslaught with a tearing main riff that shreds away with speed and precision. Teutonic, Bay Area and a few east coast Thrash Metal bands have been instrumental in forging the whole genre altogether but taking the intensity a couple of notches higher was undoubtedly achieved by bands like Cryptic Slaughter, Soothsayer and finally Wehrmacht. For a year that was 1987, “Shark Attack” was way ahead of its time and has been highly regarded as the release that influenced many a band in the Grindcore and Black Metal genres. To testify this statement of mine, U.K Grindcore pioneers Napalm Death have covered Wehrmacht on one of their studio compilations, thus proving the exemplary effect this band had in the years to come. Yet the irony still stands out as to why only the most devoted of Thrash Metal/Crossover freaks know about this band. As for some of you guys, quit wasting your time listening to the senseless offshoots of Grindcore and shitty Black Metal and get a hold of this classic instead.

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE, DONE IN COOPERATION WITH THE FAMILY OF BOBBY COLE !!!

If you lived in New York during the 1950s through the 1990s and liked jazz, you knew about Bobby Cole. He played piano, sang, composed, arranged and, in 1967, released an album of original compositions titled "A Point of View" (Concentric Records). He had fans but avoided becoming mainstream. He stayed contemporary without becoming current. Jazz, folk, rock, modern dance scores…he wrote and performed them all. He smoked too much, drugged too much, drank too much. He was also cerebral, curious, a prodigious reader of poetry, philosophy, theology, and an uncommonly intelligent and literate lyricist.

On a December night in 1996, he had a heart attack while walking to work. An ambulance brought him to New York Hospital where, a few hours later, he died. Bobby Cole performed throughout Manhattan for forty years, but he spent most of the 1960s headlining at Jilly's, the midtown bistro owned by Frank Sinatra and his friend Jilly Rizzo. Sinatra called Bobby "my favorite saloon singer."

Bobby Cole caught the attention of Judy Garland, who visited Jilly's one night in 1964. She was hosting a weekly television show, and in the midst of a feud with her special materials arranger, Mel Torme. Three weeks later, Mel was out, and Bobby was in. He performed on Judy's show with his Trio. Bobby was scarcely 30 years old and it was his first time on television, but he was unruffled, sophisticated, and so damn cool. After Judy's show ended, Bobby occasionally arranged and conducted for her until she died.

Today, Jilly's is called the Russian Samovar and the piano is in the same spot. My husband and I ate there a few years ago. As we enjoyed our meal, I talked about Jilly's in the Sinatra era. Jilly had an apartment on the upper floor. I pointed up to the apartment and the balcony, where Jilly and Frank would sometimes drop water-balloons on unsuspecting pedestrians below. Another story described Jilly's as "tough, and you had to be tough to work there. Bobby Cole was tough. Frank and Jilly used to throw firecrackers at him to see if they could rattle him, but nothing rattled Bobby Cole. He ignored them and kept on playing." In the 1980s, Bobby headlined at a club called the Café Versailles. His daughter sometimes visited with her friends. She recalled that when she and her father would exit the club after work, a panhandler would be waiting for him. Bobby, who fought his own losing battle with the bottle, would slip the guy twenty dollars and wryly admonish him, "Be sure not to spend it on food." The night my husband and I visited the Russian Samovar there was a guy playing piano there, very young, and trying hard. I talked to him a little bit between his numbers about Bobby and the history of Jilly's and he was sweet, but I could tell he didn't care. I felt like one of those old people who bore young people to death with stories about things that happened before they were born – which, let's face it, is what I was. Nonetheless, when we were ready to leave, I put twenty dollars in his tip jar and said, "This is with compliments from Bobby Cole." After we left my husband said I should have added, "Be sure not to spend it on food."

Marie Hegeman (December 2021)

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

Adrian Quesada announces the release of ‘Boleros Psicodélicos’,
a sprawling and singular tribute to the golden era of balada music.
The brand-new album from the GRAMMY-nominated guitarist,
producer and Black Pumas co-founder serves as a celebration of
the super funky, slightly delirious and deeply soulful sounds that
transcended the cultural boundaries of Latin America throughout
the late 1960s and early 1970s.

Featuring vocals from Puerto Rican icon, GRAMMY-winner and
former Calle 13 member iLe, Colombian-American visionary
Gabriel Garzón-Montano, Mexican R&B star Girl Ultra, as well as
Angelica Garcia, Gaby Moreno, contributions from living legends
such as Marc Ribot and Beastie Boys musician Money Mark, and
many more, ‘Boleros Psicodélicos’ consists primarily of original
Adrian Quesada compositions, as well as covers of La Lupe’s
‘Puedes Decir De Mí’, Jeanette’s ‘El Muchacho De Los Ojos
Tristes’ and other balada classics.

All twelve tracks were produced, engineered, mixed and largely
performed by Adrian Quesada, honouring and extending the
influence of a personal obsession that he has cultivated over the
past 20 years.

Similar to his acclaimed 2018 album ‘Look At My Soul’, which
traced the deep roots and relationship between Latin and Texas
music, Adrian Quesada sees every song on ‘Boleros Psicodelicos’
as both a history lesson and a step towards a newly imagined,
more united future: “I always wanted to pay tribute to that sound
that I was already hearing in my head without realizing that people
had already done it. Balada changed the face of Latin music
forever. If something like that happened today, it would be normal
because everyone’s connected on Instagram. Think how powerful
this sound had to be for everyone to be connected through the
songs. As someone who grew up speaking two languages and
living on both sides of the border, I love how much music can
transcend barriers and boundaries. It really is a universal
language, especially back then.”

"When Aniruddha Das (DSPSSSSD) and Gary ""Roy"" Stewart (Dubmorphology) met at Nottingham Trent Polytechnic in the mid-80s, they started on a life-long friendship and musical collaborative partnership that continues today.

While Das went on to acclaim as part of Asian Dub Foundation, Stewart is an artist and experimental sonic musician, producing projects featuring sound design and immersive works, for the likes of Tate Museum.

Together they perform as Dubnoiz Coalition, exploring the outer limits of improvised bass, noise and distortion, which has seen them perform across the globe.

In 1990 they took their first steps in a recording studio, mixing the early influences of Acid House with their interest in drone and sound effects, to create two pieces, Tilt and Fari 116.

Recorded as improvisational jams and dubbed live to the mixing desk, they were pressed as very limited white labels. Here Tilt is all bubbling acid and taut percussion, recorded to a 2” 16 track. Using samplers, drum machines, Roland TB303 and sync box, Ani arranged the drum and bass lines, as well as programming the 'counter melodies' with the TB303, with acid modulations and sometimes in odd time signatures, while Roy looked after the samples and drones.

Archival testaments but set apart from the burgeoning acid house scene and simply great music, here remastered and reissued some 30 years later by Platform 23.
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''The acts Mermaid Chunky call to mind here tend to lean on a blithe naivete: Animal Collective, Peaking Lights, youthful Norfolkians Let’s Eat Grandma and fuckwitted freak-folkers Cocorosie. This isn’t a fashionable sound in 2020 – venture your own sociopolitical reasoning – and I reckon I’ve found the one record of its type I want to hear this year.''
Mermaid Chunky are an audiovisual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Much of their cultivation has come out of the mossy club culture of Stroud's SVA and London's Total Refreshment Centre, collaborating with the likes of Alabaster DePlume, Danalogue, Donna Thompson, Grove, Snapped Ankles (UK tour support) and Yama Warashi.

Their debut Faith and Industry album VEST (produced by Capitol K at Total Refreshment Centre), was birthed last year out of a history of improvised cheek and club dexterity forefronting their live shows and audiovisual solstice celebrations, recently captured by British Vogue's 2021 PRIDE series. Championing this action is the Mermaid Chunky Mothership, a gang of fellow artists and performers, often clad in nauseous satin frills, swamping the stage with french mime and slut drops (Roundhouse 2021, End Of the Road 2021, SVA Solstice always.) The MC gang just scoured their PRS Woman Make Music funding so who knows what they will be stirring up in the heat of summer soup 2022 (the most ducks in a year we will ever experience.) The only way for you to find out is to join the chunklett buffet and dip your wicked, webbed fingers into something mega.

Mermaid Chunky will perform Camp Bestival (Shropshire), Kite Festival (Oxford) and at Orbury Common’s PrahEP launch (a collaborative audiovisual May Day celebration) at the Brunel Goods Shed, SVA, Stroud 30th April - 1st May.
They will aslo be collaborating with Percolate Music on a series of London based audiovisual events this year focused on experimental, electronic womxn performers, visual artists and DJs. More special announcements to be revealed in the present future of your past.

On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period.

A Polaroid. Still life with tangled leads and consumer electronics, late twentieth century. Black and various shades of dirty white are the dominant non-colours. The image’s spatial depth remains diffuse, the links between its elements speculative. A note stuck to the wall (a legend, perhaps, or an all-explaining blueprint in text form?) is impossible to decipher. You can’t see what connects the picture’s signs. You have to hear it.

farben says: Every sound is a text. A bearer of meaning in search of a reader. Hoping the ideas inscribed in its autonomous existence will be understood as intended. While its beauty lies precisely in misunderstanding, in reading the coded message a new way every time. A thousand colours of sound, a thousand different ways to hear, to see, to understand.

On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek’s home studio in Berlin at the time.

farben says: Move your body! The project has its roots in Jelinek’s love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music’s most extravagant stock phrases about various states of love.

Jelinek produced the tracks with the aim of making music for dancefloors. An idea that failed very productively. In the locations to which it was originally addressed, the project barely figured. But people did listen, and they listened all the more closely to this music that opened up new acoustic and associative scope for house. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it.

farben says: Signifiers. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall we hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs.

The artwork is based on photographs of former Red Army Faction members, broken down into the four colours of the CMYK model. The motifs dissolve into individual dots of a single colour, so close to the faces that their expressions are only hinted at. Taken together, the individual colours compose a new whole out of fragmentary material, defying definition and thus maintaining their vibrancy. The same occurs on the level of sound. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of colour, are dissolved into details and abstractions. They appear as splinters that recombine in new ways to create new meanings. The joy of collapsing metaphors.

farben says: New departures. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking and speculation. 1.44 megabytes of history, one thousand signifiers, one album. From “Live ...” to “... Love”.

Arno Raffeiner, 2021

A product of generations of underground music in L.A. and beyond, The Linda Lindas' debut, Growing Up, channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members-each with her own style and energy. A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit at L.A.'s DIY punk institution The Smell and Head in the Cloud festival goers at The Rose Bowl alike. The Linda Lindas are stoked to unleash Growing Up. The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage punk group just for fun. Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown, where they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler's movie Moxie. When the pandemic put a pause on shows, The Linda Lindas went on to self-release a four-song EP, make their own videos and grow a following beyond Los Angeles. But they never expected or could have even dreamed that their performance of "Racist, Sexist Boy" for the Los Angeles Public Library in May 2021 would take them from punk shows to TV shows. A month later, when the school year ended and summer began, The Linda Lindas got to work on their first full-length LP. Having written a mountain of new material individually while sheltering in place and attending class virtually, the band was more than ready to enter the studio where Mila and Lucia's dad (and Eloise's uncle and Bela's "uncle") Carlos de la Garza oversaw recording and production. The Grammy-winning producer's work includes Paramore, Bad Religion, Best Coast, and Bleached.