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Mit seinem neunten Studioalbum meldet sich Matthew Houk aka Phosphorescent zurück, dessen Songs und Stimme ihm schon Vergleiche mit Neil Young, Will Oldham und Kurt Cobain eingebracht haben. „Revelator“ ist sein Debüt auf dem renommierten Verve-Label, das schon seit einiger Zeit neben Jazz auch mit amerikanischem Rock und Independent Music Zeichen setzt.

MASK’s ZentaSkai & Laura Merino Allue announce vinyl-only underground house and techno series as Cuddling Monsters.
Cuddling Monsters serve up the first vinyl-only volume of a new self titled series on Berlin-based Mask Records. All four cuts explore deep and classy techno, dub and house soundscapes with the aim of rediscovering the soul of electronic music and forming new bonds between human creativity and technological innovations.
Cuddling Monsters is the coming together of creative partners ZentaSkai and Laura Merino Allue. ZentaSkai is the MASK founder recognised for his immersive, hypnotic groove, and Allue is a fashion and graphic designer. They are newly assembled under this alias but have a long-time love of vinyl and analogue machines, which shows in their sounds.
"Crafting music with analogue instruments holds profound importance in the contemporary musical landscape. Despite the omnipresence of digital technology, analogue instruments maintain a pivotal role, offering distinctive sonic qualities, creative constraints, and genuine sound reproduction. The tactile, hands-on connection." - Cuddling Monsters The superbly deep and atmospheric 'Lucky Star' is a dubby minimal cut with a deft rhythm and warm pads that are perfect for cosy back rooms. The absorbing 'Crystal Growing' is another stripped-back techno roller with rubbery drums and pensive chords that lock you into a state of meditation. Up next is the powerful 'Floating Tank' which pairs gorgeous ambient synths with driving drums. It's a great coming together of the physical and the emotional that will take dance floors to the next level. 'Analog Dreams' shuts down with more perfectly smoky pads and grainy lo-fi atmospheres as slick but driving drums power onwards.

New Juice WRLD album Fighting Demons cover and tracklist has been revealed. The album, features collaborations with Justin Bieber, Trippie Redd, SUGA of BTS, and Polo G.
“There was nothing Jarad “Juice WRLD” Higgins enjoyed more than delivering new music to his millions of fans around the world. He left behind an astonishingly deep catalog of music that will ensure his fans will have new songs to listen to for years to come. Jarad was always searingly honest about his struggles and through his musical genius he articulated what was on his heart and mind vividly through his art. He never gave up and his friends and family never gave up on offering their support to him. Today we announce a new album “Fighting Demons” out Dec 10th. We encourage all of you who struggle with addiction and mental health to never give up the fight. We continue to extend free support to you via LiveFree999.org created in his honor.”
- Ms. Carmela Wallace and Grade A

Released on July 10th, 2020, Legends Never Die had a record-shattering debut at No. 1 on the Billboard 200 and spent two weeks at the top spot and has since landed five singles in the top ten on the Billboard Hot 100.

In April of 2020, Juice’s mother Carmela Wallace announced the establishment of the Live Free 999 Fund, which receives additional support via Grade A and Interscope Records in addition to individual donations. The Live Free 999 Fund honors the legacy of her son by supporting young people in their battles and to do so with love, joy, and emotional honesty.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

Welcome our dear listeners to the second vinyl record from Rewind Ltd!

We never cease to amaze you with our wonderful specialities of music tracks prepared by our talented residents and new names. On this disc you will find beautiful jazzy deep house that will immerse you in an atmosphere of relaxation and meditation. And if you want to dance, we have prepared for you a brilliant disco and groovy house vibe that won't leave anyone indifferent!

Our Rewind Ltd vol.1 compilation is a bright, rich, intense mix of music with shiny synths at the front, disco motifs in the centre, and danceable crunchy vibes at the end. It's a real cocktail for our listeners who love variety and quality music. We have gathered the best guys from all over the country to create this musical masterpiece for you. So don't miss this chance and savour our wonderful specialities of music!



Comes as 180 gram Viny only!

Several Years Ago, the Disco Records Dj Crew Members Got Their Hands on a Couple of Original 70s Obscurities, While These Standout Records Shone Brightly in Their Own Right, the Team Finally Decided to Put Them Out as Those Obscure Old Records Fetch Eye-Wateringly High Prices on the Second-Hand Market. Due to Popular Request & Lovingly Mastered to the Highest Possible Standards, They Are Now Available to Play and Share in Very Special Moments at Parties Around the World. This Will Surely Be One of the Most Keenly Anticipated Disco Release of the Year. for Our First Release, We Are Extremely Proud to Bring You at Last, Three Very Hard to Find Disco Anthems on Sides a & B in Their Glorious Full Extended Versions...

Celebrating our tenth release, we proudly present "Feeling Everything, All At Once" - a compelling VA compilation featuring music from our current label family and introducing some talented debutants from Scotland.

RED010 marks a powerful statement of intent as we look to the next five years and beyond whilst reflecting on our achievements so far, what we aspire to accomplish and how we can continue to push the sounds that resonate with us. Although it has taken time to reach this milestone, our commitment to quality over quantity remains unwavering.

This compilation serves not only as a collection of club-ready tracks but also as a longform piece suitable to more passive listening. With a total of 14 tracks, it stands as our most extensive release yet, expanding our label family to well over 20 artists. The digital release will be complemented by a physical cassette, perfect for playing in the dusty tape deck of your mate's Vauxhall Corsa as you head to that mad rave in the countryside everyone is talking about.

We are thrilled to announce our collaboration with the Scottish Action for Mental Health (SAMH) on this project with all the profits being donated to this cause. Both Lewis & Ethan have their own personal experiences with mental health difficulties and strongly believe that SAMH is absolutely vital in facilitating the provision and promotion of mental health care, support & information.

A massive thank you to all those involved in making this happen and their generosity in donating their time and talent to the project.

Theme songs from the movies “Nausicaa of the Valley of the Wind” which was released 35 years ago,

“Castle in the Sky” and “My Neighbor Totoro”

Have been loved by many people up until now and even appeared in music textbooks.

The original 7” singles will be reissued and included in the box set. Remastered for this time

You can enjoy the vinyl only sound. We hope you experience the greatness of vinyl record.

During the 1990s Shizuka self-released a series of four cassettes, barely heard by anyone outside of their inner circle. Culling together live recordings and home demos, these served as companions to the scant amount of proper Shizuka releases at the time (including the recently reissued Heavenly Persona). Concentric Circles is proud to present the third and most anomalous cassette from Shizuka, simply titled III, on vinyl for the first time in an edition of 500 copies. Formed by guitarist and singer Shizuka Miura, alongside husband Maki Miura, who’d previously played with both Les Rallizes Dénudés and Fushitsusha, the group known as Shizuka started in the early 90s with Jun Kosugi (also of Fushitsusha) on drums, and a revolving cast of bass players, including J.J. Junko, whose sole recorded appearance with the band is here on III. Devoid of any of their trademark noise and bombast, III feel distinct from their studio and live albums of the era, largely due to its fragility; haunted and spare, the songs revolve around Shizuka Miura’s gentle, unforced sighs, and Maki’s flickering, flinty guitar. The first side of the album features four songs – “For You,” “Lunatic Pearl,” “The Night When The Door Opens” and “To The Sky” – which will be well-known to Shizuka fans from previous recordings, but the drastically understated renditions here are particularly moving for their quietude and intimacy. The second half of III consists of a side-long duo session, just Shizuka and Maki Miura together at home, circling around the simplest two-chord motif for twenty minutes, Shizuka singing the most heavenly melody, strung through the sky of this lengthy improvisation. It’s an astonishingly beautiful performance, one that stills time through its becalmed repetition, pointing towards the endless forever. In this respect, it feels like an ultimate extension of Opal’s early recordings, Big Star’s 3rd or even Galaxie 500’s quietest moments. III lifts the darkness away, allowing for a softer, more gentle Shizuka to shine through, bringing with it a side to the band that most never knew existed. A lovely discovery if there ever was one.

Organ of Corti, the trio of Joachim Nordwall (IDEAL Records, The Gagmen), Mattias Gustafsson (Altar of Flies) and Dan Johansson (Sewer Election, Enhet för Fri Musik) returns with another exercise in the slow-motion decay of analog sound. Usher, a minimal hypnotic track on side A reveals its subtle details after multiple listens while the claustrophobic Trauma on the flipside will grab your immediate attention. Machines that hum, sputter, and crackle while slowly moving forward. Vaguely familiar tape loops, spacious synths and crumbling electronics. A journey into the unknown.

The Swedish underground scene continues to deliver some of the best experimental acts and Organ of Corti firmly establish themselves as part of the foundation with a recent self-released cassette, another cd on New Forces and this new single. While their sound has clearly evolved, these alchemists are staying true to their original intention of forging fragments of surreal nightmares.

Repressed clear yellow w/ red splatter vinyl! This is the 5th full length for London-based USA Nails full of post-punk noise rock that's as grating as it is catchy. USA Nails release their fifth album "Character Stop" on October 23rd 2020 through Hex Records. The new album from London-based USA Nails (and 2nd for Hex Records) is a post-punk, noise-rock platter that is as grating as it is catchy. The record was tracked live over 4 days at Bear Bites Horse in London with producer Wayne Adams. Though "Character Stop" still features the pummeling noise-punk that USA Nails have become renowned for, it's balanced with more sober, downbeat moments. On it they explore identity - like the online personas of aggressive twitter users, influencers and vloggers, as well as more introspective takes on mental health, giving up on dreams, the joy (and despair) of being a part-timer, and contemplating who they would be if they decided to hang up their guitars for good. Guitarist Gareth Thomas comments, "For me "Character Stop" is the best album USA Nails have ever made by miles. It's more varied than anything we've ever done before and I think it's stronger for it. I feel like it's more fully realized, and more complete as a collection of songs. Every time we get in a room together and write, the dynamic of our relationship as writers (and mates) develops a bit further, we get better at anticipating and complimenting each other. We've always tried to be efficient in our creativity, to do what feels natural and just let things flow. I'm obviously still really happy with all the music we've written up to this point, but on this record everything seemed to come together so sweetly. " Comes on clear green vinyl. USA Nails will tour Europe and the US in 2021, following a clutch of UK album launch shows in late 2020 - COVID permitting. In the last few years, USA Nails have toured with Sub-Pop lovelies Metz, completed numerous USA and European headline stints, and supported the likes of Mission Of Burma, John, Future Of The Left, Mclusky*, Cocaine Piss, Viagra Boys and Murder Capital. Ffo Pissed Jeans, Wire, Gang Of Four, Pinko, Blacklisters, Drive Like Jehu Press Quotes: 'Heavy, crushing, and aggressive post-hardcore' _The Needle Drop 'A mix of Drive Like Jehu headbangers, nods to psychedelia and a throttling of hardcore for good measure' _The Skinny

A showcase for Peter Frampton’s growth as a songwriter and guitar player, Frampton’s Camel is named after his touring band, honouring the groove this collective had reached in 1973. Prominently featuring Mick Gallagher’s superlative keyboards, the hard-rocking hooks and catchy melodies here lay the foundation for the superstardom that would come just a couple albums and tours later with Frampton Comes Alive. Camel includes the smash hits “Lines On My Face,” “Don’t Fade Away” and a majestic cover of Stevie Wonder’s “I Believe (When I Fall In Love With You It Will Be Forever).” Camel also introduced the world to the all-time classic rock anthem “Do You Feel Like We Do,” with a songwriting credit to the entire band. This fan favourite has remained a highlight of Frampton’s legendary live performances for decades.

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.

Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."

As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."

As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."

"Soul artist Bettye Swann was born in Shreveport, USA on October 24, 1944 and spent her first nineteen years in Louisiana. She moved to California and signed a deal with Money Records, recording her breakthrough hit ""Make Me Yours"" in 1967, which is still her biggest selling record. After the contract expired, she signed to Capitol Records and teamed up with producer Wayne Shuler and recorded a R&B version of Hank Cochran's country song ""Don't Touch Me"". On this comprehensive self-titled double album, compiled by Mark Ainley, classic songs such as ""Tell Me Like It Is"", ""Stand By Your Man"", ""(My Heart Is) Closed For The Season"", ""Willie & Laura Mae Jones"" plus 18 heartfelt soul songs showcase Bettye's unique voice. Bettye Swann is available as a 2LP and includes an insert with liner notes written by Tim Tooher. "

Bettye Swann by Bettye Swann, released 29 March 2024, includes the following tracks: "I'm Lonely For You", "Little Things Mean A Lot", "Just Because You Can't Be Mine", "Sweet Dreams" and more.

This version of Bettye Swann comes as a 2xLP. This release comes with (a) Insert(s).

Whitney Houston’s self-titled debut album has few parallels. Viewed solely through the lens of sales numbers, Whitney Houston is a watershed statement on par with the most commercially successful and culturally dominant LPs ever released. Having sold more than 14 million copies in the U.S. and upwards of 25 million units worldwide, the 1985 LP became the equivalent of the television show or blockbuster film that everyone collectively experiences and discusses. Nearly four decades later, it’s lost none of its appeal or magnetism — and its artistic significance and historical import have only grown.


Sourced from the original master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g SuperVinyl LP of Whitney Houston presents the breakthrough in audiophile sound for the first time. The signature traits Houston exhibits on every song — her three-octave range, radiant warmth, personal conviction, impossibly controlled register — come across with exceptional clarity, focus, and presence. Free of artificial ceilings and constricted dynamics, this reissue plays with an openness, airiness, and balance that put the singer’s once-in-a-lifetime instrument and immortal artistry into proper perspective.

It does the same for the songs’ cascading melodies and captivating arrangements. Individually produced by one of four renowned industry veterans — Kashif, Micheal Masser, Jermaine Jackson, and Narada Michael Walden — each composition feels grander, closer, more genuine. A vocal spectacular, Whitney Houston benefits from the high-end characteristics of SuperVinyl, which include a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces. This is how an album that changed the direction of popular music — opening previously inaccessible doors for Black artists; bringing smooth-singing vocalists back into the mainstream; kickstarting a movement that soon included several “divas” who would command the charts through the early 21st century — should look and sound.

Though Houston’s seemingly effortless performances suggest otherwise, creating the record Rolling Stone ranks as the 257th Greatest Album of All Time wasn’t easy. Nearly 18 months were required to identify songs suitable for a still-unknown singer who did not fit into the conventional frameworks of the mid ‘80s. Confident, powerful, and prodigiously talented, Houston would forge her own parameters with Whitney Houston. In the process, she obliterated the stubborn lines between R&B and pop, Black and white radio. She dared to reimagine who could be a superstar and then went out and defined the role. Recorded for nearly $400,000 and released on Valentine’s Day, the LP exceeded the wildest expectations of those most closely associated with it — save for Houston and her family.

Having made her first public appearance at the age of 11 singing at a Baptist church, Houston understood pressure and knew her way around, inside, and through a song. The invaluable guidance and support she received from her mother, Cissy, an accomplished gospel vocalist who backed Aretha Franklin and Elvis Presley, are on display throughout Whitney Houston. They arrive in the types of authoritativeness, discipline, and diction rare for even most seasoned veterans — and unheard-of for a 21-year-old newcomer. Houston brings a soulful elegance, understated glamour, and in-the-moment rapture to every note. Moving up, down, or staying in the middle of the vocal ladder; channelling softness or sweetness; showing restraint or increasing the volume, she is a marvel of emotionalism, a dynamo who can seamlessly transition from one mood to another within a verse.

Though the 10-track LP largely concerns itself with the ballad tradition, Houston covers the bases, getting into an R&B groove on the fleet “Thinking About You,” turning up the heat on the duet “Take Good Care of My Heart,” and investing the contagious dance-pop confection “How Will I Know” with all the anxiety, hope, energy, and enthusiasm its lyrics demand. Featuring her mom on background vocals and Houston’s pitch-perfect tone, uncanny precision, and skyscraper highs (no AutoTune here, friends), the synth-based anthem propelled Whitney Houston into the stratosphere, the vocalist into regular MTV rotation, and the term “crossover” into popular parlance. The double-platinum single reached No. 1 on the Hot 100, Hot R&B, and Adult Contemporary charts — a trifecta that foreshadowed accomplishments that would ultimately crown Houston as the most-awarded female artist of all time.

Whitney Houston became the first album by a Black female performer to top the Billboard charts. It remained there for 14 non-consecutive weeks en route to claiming the title of the best-selling LP of 1986. It stands as the first debut and first album by a solo female artist to spawn three No. Hits, as well as the first album by a Black female artist to top the year-end charts in Australia and Canada. These are just a handful of the accolades — along with four Grammy nominations — that surround a set that also contains the unforgettable ballad “Saving All My Love,” string-accompanied “Greatest Love of All,” and sensual “You Give Good Love.”

As TIME observed in an article written two years after the album took the world by storm: “This is infectious, can't-sit-down music, and her performance dares the listener not to smile right back.” We’re still smiling.

Donovan invited fans to submit their top 5 favourite songs of his to help curate this limited edition Record Store Day exclusive vinyl. With over 680 submissions, the top songs were chosen and became the tracklist. Each fan who submitted their song picks will have their name listed in the liner notes of the record. Description from Donovan Woods: People like vinyl records, you may have heard. So folks are always asking me about when certain songs will be available on vinyl. The problem is, some of these songs were singles. They were never on an album. I’m not gonna make vinyl singles. This ain’t 1952. I was hoping that vinyl’s popularity would wane and I could wait it out, but that doesn’t seem to be happening. So, we had an idea to let fans vote on which songs they’d like on a vinyl release. Not like a greatest hits, because I have no “hits”, but like a compilation. So, you voted (thank you) and these are all of the popular choices that would fit on an album. Do I agree with all of them? No, of course not. But it's not up to me, that's the beauty of it. It’s not a greatest hits, I can’t stress that enough. It’s just a compilation of songs that a certain set of people enjoy and they'd like to hear these songs with a few more vintagey crackley-pops. Canada RSD Exclusive Pressing - 300 Units - Recycled Mixed-Blend Colourway USA RSD Exclusive Pressing - 200 Units - Recycled Mixed-Blend Colourway Merch Store Exclusive Pressing - 200 Units - Pink Colourway (DW Online Sales Only)

Spaceship is Mark S. Williamson, a musician, sound artist, film maker and educator based in Todmorden, West Yorkshire. His work is often made in response to his environment, working on location, combining
field recordings with electronic and acoustic instrumentation, usually recorded outside, amid the landscape and weather. Mark has recorded for wiaiwya, Apollolaan, the Dark Outside and his own Forged River Recordings. "Williamson is building desire tunnels, churning through the layers of rock and soil to find his conclusions." - The Wire // "...the droning synthesizer waves conjure up something spectral and eerie, stretching out like the wi de horizon..." - The Quietus // "Beautiful." - Hannah Peel

This Is Street Funk” is part of a new series aimed at vinyl buyers who want a genre specific compilation to excite their ears. They will appeal to long-standing, discerning music acolytes and recent converts alike. Two sides of fantastic music, at an affordable price, hand-picked with TLC from Ace and its associated catalogues.

Compiled by Dean Rudland, who also writes the liner notes, “This Is Street Funk” brings you 14 tracks of hard hitting, heavy funk, and sums up the sound of 70s Black America. A combination of fatback drums, syncopated bass, rhythmic guitars and explosive vocals.

The line-up of tracks includes classics from the Fatback Band and Millie Jackson, dancefloor favourites from Billy Garner and Billy Sha-Rae and screaming organ instrumentals from the Fame Gang and Larry & Tommy.

This is fourteen tracks that defy you to start dancing.

Tyler Pope's latest EP is an absolute belter, and the primary concern these four tracks are asking of you is right up front: Pay Attention to the Bass. And, honestly, with a sense low-end like what's on display here, how could you not? This new release from Pope-a dance veteran who's also known as a full-time member of LCD Soundsystem as well as a collaborator with artists like Hercules & Love Affair and Pantha Du Prince-arrives on his always eclectic Interference Pattern label, an imprint that has previously spanned left-field electronic sounds, noise rock, and avant-R&B. As such, Pay Attention to the Bass is anything but straightforward, with ricocheting rhythms and alluring textures that are as easy to get lost in as they are to move your body to.

Listeners familiar with last year's Make Each Other Happy EP, which embraced dark disco grooves and crisp percussion, will be delighted at the new curveballs on display here: "Why Must I" euphorically merges the propulsive charge of UK funky with delicious piano-house stabs, while "OKay" anchors itself around a rubbery bass line like a lost cut from the Remain In Light sessions. The flip side gets dark and dank with it, as "Close the Door" echoes with spooky clatter and dubby wobbles before sprightly vibes break through-and the closing cut "Where r they Hiding" goes full-on tunnel techno with it, conjuring a mood that recalls the haunted house music of Sandwell District as well as the cold-sweat futuristic visions of jungle. With Pay Attention to the Bass, Pope expands his sound wider than ever, and it just so happens that it's an absolute blast to listen to as well.

Yuko Kureyama returns to TAL with the album Heart Fresh, her first ever full length release under her Kopy moniker. All tracks for the album were recorded in Tokyo in June 2023 at the famous live house Ochiai Soup. For the recordings of the ten tracks, Ochiai Soup was swiftly converted into a recording studio as the intimate atmosphere of the club and its perfect room acoustics gave Kopy the chance to record her music like in a live situation.

Amazingly Kopy‘s instrumentation on Heart Fresh consists only of a Jomox x Base 09 rhythm machine and an Elektron Digitakt mini sampler. In the hands of Kopy this fairly basic and common gear creates an unmistakeably intuitive and original approach to drum programming, which is recognizably her very own.

Due to extensive live playing in the past two years, Kopy has garnered a lot of admiration for her consistently unpredictable and fearless club performances and has easily become one of the most exciting and inventive live acts from the ever vibrating electronic music scene in Japan.

However, Heart Fresh seems even more focused, urgent and ambitious than its predecessors, the Paredo EP (TAL12 including a remix by Lena Willikens), the Eternal EP (TAL 24 featuring a remix by Elena Colombi) and the split album Super Mild (TAL15). Nothing on Heart Fresh is subdued. The entire production is resonating with its peculiar frequencies, it is wonderfully evocative, open hearted, full of life and intelligence.

The album opens with Night Sarkas with quirky snare rolls played against slashing, nervy chunks of melody. Samples of organ and chimes evoke an rollercoaster spinning out of tune and synch. Hole Hole is a beat driven and melody free short story for bass drum, snare and hi hat with constantly changing bpm‘s. Tir Tone marks the arrival of annunciatory rhythm patterns and a lovely sprinkling of distorted synths. The album's final track Moonlight Pool is the perfect closer for an album of taut, free wheeling figurations of meter and tone, a nod to classical ambient music as well as to contemporary more experimental digressions.

However, the album’s most startling and unexpected moments come when Kopy follows her futuristic inclinations and matches them with dissonant excoriations that shuttle the mind into a completely different place where all kinds of different activities seem to follow their own individual compasses. Imagine to walk down the noisy streets in Tokyo and you hear all kinds of different sounds infiltrating your ears independently from different sources and directions. In that sense Heart Fresh is the most appropriate soundtrack we can imagine for the contemporary era.

"Humble Pie was formed by ex- band member of the Small Faces' Steve Marriott, former Spooky Tooth's Greg Ridley, Peter Frampton, and Jerry Shirley. The supergroup recorded eleven studio albums in total, including the 1970 self-titled album. They recorded it with producer Glyn Johns, who worked with many of the most famous rock artists including the Rolling Stones, the Beatles, Led Zeppelin, the Who and many more. The material was darker than their previous two albums and includes Peter Frampton's gentle ""Earth and Water Song"", a cover of ""I'm Ready"" originally by Willie Dixon, and ""One Eyed Trouser-Snake Rumba"". The front cover features artwork by English illustrator-author Aubrey Beardsley, who is known for his Japanese woodblock influenced grotesque and erotic illustrations. Humble Pie is available in its original gatefold sleeve. "

Humble Pie by Humble Pie, released 29 March 2024, includes the following tracks: "One Eyed Trouser-Snake Rumba", "I'm Ready", "Red Light Mamma, Red Hot!" and more.

This version of Humble Pie comes as a 1xLP in a(n) Gatefold Sleeve packaging.

Organic, electric, freeform. Pete Jolly's Seasons is comprised of melodies and textures composed live and without pretense—its grooves contain a complete and divine listening experience that surpasses all others of the era in which it was originally released, coming as close to transcendent musical meditation incarnate as one could possibly imagine. Seasons is an unsung masterpiece of ensemble groove and stellar musicianship, equally unsurpassed and inspired in its quiet excellence

While Seasons never had significant commercial success upon its release, it has since amassed a cult following, leading collectors to pay top dollar for copies of the rare record. Out of print since 1971, it has only been reissued once on CD.

In his liner notes accompanying this release, Dave Segal puts the album’s massive demand in perspective: “British label owner Jonny Trunk put up an original pressing of the LP for sale for an undisclosed but large sum on Instagram in January 2023, and it sold in five minutes. With Seasons back in circulation, maybe Pete Jolly will finally gain the broader audience that his phenomenal skills merit,” writes Segal. “If nothing else, it serves as a valuable lesson to artists: venturing outside of your comfort zone can bring the most interesting, enduring results.”

Remastered from the original analog master tapes by Kevin Gray at Coherent Mastering, this record not only foreshadows the roots of hip-hop but manages to embody the richness of a full album listening experience that few records can offer. Its timeless appeal is rare—and its dynamic range sets it apart as an album that straddles both the jazz and pop worlds in a way that almost no others can. Sit back, relax, and enjoy the changing and complex colors of Seasons for the first time ever since its initial release.

Organic, electric, freeform. Pete Jolly's Seasons is comprised of melodies and textures composed live and without pretense—its grooves contain a complete and divine listening experience that surpasses all others of the era in which it was originally released, coming as close to transcendent musical meditation incarnate as one could possibly imagine. Seasons is an unsung masterpiece of ensemble groove and stellar musicianship, equally unsurpassed and inspired in its quiet excellence

While Seasons never had significant commercial success upon its release, it has since amassed a cult following, leading collectors to pay top dollar for copies of the rare record. Out of print since 1971, it has only been reissued once on CD.

In his liner notes accompanying this release, Dave Segal puts the album’s massive demand in perspective: “British label owner Jonny Trunk put up an original pressing of the LP for sale for an undisclosed but large sum on Instagram in January 2023, and it sold in five minutes. With Seasons back in circulation, maybe Pete Jolly will finally gain the broader audience that his phenomenal skills merit,” writes Segal. “If nothing else, it serves as a valuable lesson to artists: venturing outside of your comfort zone can bring the most interesting, enduring results.”

Remastered from the original analog master tapes by Kevin Gray at Coherent Mastering, this record not only foreshadows the roots of hip-hop but manages to embody the richness of a full album listening experience that few records can offer. Its timeless appeal is rare—and its dynamic range sets it apart as an album that straddles both the jazz and pop worlds in a way that almost no others can. Sit back, relax, and enjoy the changing and complex colors of Seasons for the first time ever since its initial release.

DRIFT. Is British-Italian producer Nathalia Bruno, releasing music under the guise since 2015. Her 'techno-pop' EPs 'Black Devotion' and 'Genderland' released with Avant! records were the first explorations in finding the sound of DRIFT. but as the name suggests, is in constant flux. In 2020 'Symbiosis' the debut record was released on Hamburg's Tapete Records, an assemblage of lo-fi futurism reflecting on the breakdown of communication and interaction Nathalia felt was increasing around her. Channelling classic industrial electronica, haunting melodies, using samples, field recordings and curated sound as a 'canvas to rewire the vision of the future as colourful and old, ceremonial and rust beaten. A shrine like ornament and clinical machine language plaited together.'. In 2022 DRIFT. Self released 'The nature of things', a 30 minute piece entitled 'CTRL/ Algorhythm of love' written and produced for designer Mona Cordes' 'Cellusion' show for London fashion week. "_a journey into the dark heart of the dancefloor. The glimmering bass-heavy trance of its opening section could be classic Underworld, while its ambient center is genuinely Eno-esque. And then it all kicks off again as a Berlin school style banger. It's terrific" says Electronic Sound Magazine. This year, 2023 will give birth to DRIFT.'s second album released with God Unknown records '11 points In Time' written for and based on disappeared artist Rosi Crucci, compiled of sounds/field recordings recorded onto cassettes found in the attic of the home she last lived at, interpreted into song using some of her poetry and journal entries of what was happening in the world around her, attempting to finally give Rosi a voice. PRESS Louder Than War album review 'Symbiosis' (2020) "...blends passion with precision to create a tapestry of machine-made sounds that are bursting with ideas and filled with emotion. "We live in times where nothing means nothing," she sings on Visualise The Invisible. "And nothing is true." Never more so than now...Over the course of its ten tracks, Symbiosis draws from pretty much every strand of electronic music throughout its 50-year history" Shindig Magazine review 'Symbiosis' 2020 "A brilliant, fascinating album" Post Punk Magazine review 'Symbiosis' 2020 "is an exercise in disjointed meditation, a trip through the doors of the spirit lodge and inner workings of the human psyche." Pop Matters Review 'Symbiosis' 2020 "...One track in particular, "In Orbit", speaks to this new disturbing unknown we are creating. A distorted, three-note death knell drives it as repeated knocking seems to come from a dank tunnel. If it sounds bleak, it's likely also to be therapeutic and finds common ground with the entrancing industrial thud of Throbbing Gristle or Third Eye Foundation..."

'Lost In The Night' is Palace's debut EP originally released in 2014. Now on Lewis Recordings the vinyl has been remastered and the CD comes as a gatefold. Whilst not a blues band in the traditional sense their blend of blues space rock is undeniably British with bluesy and soulful vintage overtones. Leo's sublime voice perfectly complements the dreamy ambient electric guitars creating a timeless sound, drawing comparisons to early Kings of Leon, Foals and past greats like Buffalo Springfield. Now signed to Fiction Records the band released two albums both critically and commercially acclaimed. Bassist William Dorey left Palace after their first album and now records under the name Skinshape. "It's darkly beautiful, with twilight seeming to break through every note." CLASH. // "It's a romance-bloomed introduction of the highest order." DIY // "Londoners Palace riff on Local Natives and Grizzly Bear's spacious, swooning sound."

Originally rumoured to be a double album the plan was shot down - Dave Thompson in conversation with Melanie managed to work out what it would look like and here we present all newly mastered the deluxe version. Woodstock and Glastonbury Fayre icon Melanie had been working with Easy Action on the deluxe vinyl and CD rerelease of one of the most legendary albums in her long catalogue prior to her very sad passing. In 1972, Melanie and her producer and husband Peter Schekeryk began work on what she intended to be her most ambitious album yet. Stoneground Words was to be a double album - the first such statement from any female rock artist. It would also be the first worldwide release on Neighborhood Records, the label she and Schekeryk established in 1971 - another first, as she entered territory into which only The Beatles, The Stones and The Moody Blues had previously stepped. Even more crucially, however, it was her personal response to the enormous success, earlier in the year, of the hit "Brand New Key" - "the bicycle song," as so many people recall it. Stoneground Words returned to the drawing board. Ten songs were selected; the remainder were placed to one side; and the album was released to generally positive reviews which included Melody Maker's assertion that it was "the most sophisticated she's made. The naiveté of the past has been replaced by deeper, more comprehensive methods of expression." She is the first to admit that the new edition of Stoneground Words is not a true facsimile of the original. The paperwork for all three projects, after all, disappeared long ago, as did the tapes ("who knows where?"). Stoneground Words will be released in March 2024 by Easy Action/Neighbourhood Records o Issued for the very first time as a double LP o Completely remastered. o Limited pressing on Pink Vinyl, CD Presented in large deluxe gatefold sleeve with full colour booklet o Brand new artwork o Originally recorded in New York in 1972 and released on Melanie's own Neighbourhood Records label.

Taken from from Skinshape’s 8th studio album ‘Craterellus Tubaeformis’. For fans of Khruangbin, El Michels Affair, Madlib, Bonobo. Will Dorey aka Skinshape has proven himself time and again a connoisseur for the cosmopolitan, across a prolific career expertly exploring understated sounds and theatrical textures. Taking his place alongside the likes of Khruangbin, Tame Impala, Bonobo and Madlib, Skinshape’s global kaleidoscopes are loaded with warmth and wisdom created on vintage analogue equipment applying a perfectionist’s touch. As a former member of indie band Palace, he has played everywhere from Glastonbury and BBC Maida Vale to headlining Shepherd’s Bush Empire. Skinshape’s words on the tracks. The Ocean: “This one is dedicated to all the surfers out there. Following the theme of 1960s rock and combining it with subtle elements of 90s beats (that you may not be able to hear).” The Longest Shadow (feat. Andy Platts): “This song takes a more experimental route than some of the more 'psych' tracks on the album. The hot vocals of Mamas Gun frontman Andy Platts lends the track a deep soul vibe, whilst Jon Moody (of the band Franc Moody) lends his piano skills for an electric solo in the latter part of the track.” Support from BBC 6 Music, BBC Radio 2, Jazz FM, Soho Radio, MOJO, Uncut, Shindig etc.

Tauchen Sie ein in eine harmonische Mischung aus rauen Emotionen und musikalischer Brillanz. 'The Color Purple (Music From and Inspired By)' verspricht ein Hörerlebnis, das zutiefst nostalgisch und erfrischend neu zugleich ist. So trumpft das Album mit einem Ensemble auf, das seinesgleichen sucht - der für den Golden Globe nominierten Fantasia mit ihren gefühlvollen Melodien, Taraji B. Henson mit ihrer emotionalen Tiefe, Colman Domingo mit seiner fesselnden Energie, der für den Golden Globe nominierten Danielle Brooks mit ihrer kraftvollen Resonanz, H.E.R. mit ihrer zeitgenössischen Kunst und Hallie Bailey mit ihrem strahlenden Gesang. Und Musik von den Grammy-prämierten Songwritern des Musicals - Brenda Russell, Allee Willis und Stephen Bray. Doch hört die Magie nicht bei den zeitlosen Klassikern auf.
Tauchen Sie noch tiefer ein und lassen Sie sich verzaubern von einem neuen Kapitel und neuer Musik von Alicia Keys, Jennifer Hudson, Mary J. Blige, Keyshia Cole, Coco Jones, Jorja Smith, Celeste, Mary Mary und October London sowie einer atemberaubenden Kollaboration von USHER & H.E.R.
Von Liebe und Schmerz bis hin zu Widerstandskraft und Erlösung - diese Songs fangen die Essenz von 'The Color Purple' ein und ebnen gleichzeitig den Weg für eine neue musikalische Ära. Und für diejenigen, die einen modernen Twist suchen, gibt es Remixe von Missy Elliot featuring Megan Thee Stallion und Timbaland featuring Black Thought. So schlägt 'The Color Purple' auch eine Brücke zwischen Generationen von Musikliebhabern.

Debut release for boRdeR Edits with four groovy disco edits expertly cut by RedRob. Four funky bangers for the most eclectic
dancefloors... You can be sure that no dancer will remain still while the record spins on the turntable!

The title track "Who You Are" has become a dance floor favourite making appearances during Templé's DJ sets opening for the likes of Rick Wilhite, Osunlande, Trus’me, Rahaan, Alkalino, Late Nite Tuff Guy, Hidden Spheres and Harvey Sutherland.

It's the kind of track that can get the party started, keep it going or close it out with its tough verses, 303 acid line, drum machine build up and poppy chorus. It’s so versatile that it’ll never leave your record bag. Staying with side A, the EP's charm is further amplified by Prins Thomas's magical remix of the title track.

This luminary of the electronic music scene adds his Nordic touch in only the way that he knows how. Delicately weaving his disco sensibilities into the fabric of the original track, making the chorus the break down, turning the original track on its head. This one will get you in the feels.

Flipping the record over to the B-side, we encounter "Wait For Love." It's a powerhouse of a track, driven by a rolling acid bass line and a saxophone solo that lands right in the sweet spot, ensuring the party never stops.

The vocals soaked in effects and skilfully sliced and diced, guides the listener's focus making it the perfect tune for those late night dance floor occasions. Then there's "The Tetrah" - a departure from the rest of the EP. It's a deeper and more intricate piece featuring the soulful interplay of saxophone and trumpet throughout. These two instruments seem to tease and tantalise each other, never quite aligning until the final drop. It's a near 9-minute journey and each moment holds your attention.

Plizzken are back in a big way with their eagerly anticipated second LP, Do You Really Wanna Know? These German punks' debut LP was the first full length where lead singer Sebi sang entirely in English. Since that album's release to great acclaim from the international street punk commu- nity, Sebi suffered the setback of a debilitating workplace accident, but triumphantly rose above all expecta- tions for recovery, making a hard-hit- ting new record with his long-running band Stomper 98 to boot! Returning their focus to Plizzken, Sebi and the crew are locked in and razor tight, crafting 13 brand new tracks of anthemic working class street punk that will thrill their fans while taking them by surprise. What will strike listeners immediately is a renewed focus on melody and hooks. In short, these songs are CATCHY! By the time the handclaps come in on the fourth song, "Memory Lane," you may just find yourself dancing around the room to these tunes. Likewise for the post-punk/new wave influenced groove that drives tracks like "I Don't Wanna. "Without sacrificing the realism and grit with which they face the world and sound the alarms for the working class to rise up, Plizzken sound renewed, positive, and keen to encourage everyone ready "TO FIGHT THE GOOD FIGHT," as the gang vocals on "Mad World" put it. Although they are all punk rock veterans with decades playing music, Do You Really Wanna Know? has the energy of a hungry young band who are not about to waste a new lease on life. Combining street level punk rock 'n roll with a genuine pop sensibility and a rabble-rousing spirit, executed with the chops of seasoned players, Do You Really Wanna Know? is truly a record that will have old fans dancing and singing along with fists in the air, hand in hand with what is certain to be an army of new ones.

Chaka Khan had lit the world on fire as the frontwoman for Rufus, tearing up the charts with hits like “Tell Me Something Good” and “You Got The Love,” picking up several Grammy awards on the way. She set out on her solo career with this collection in 1978, leading the way with the hit “I’m Every Woman,” which propelled the release to be certified platinum in the US and earn her another Grammy® nomination for best R&B vocal performance.

In November of 2023, she will be inducted into the Rock and Roll Hall of Fame at the end of a year that marked her 50th in the business. In 2024, we will launch a campaign to reissue her solo records, some physically, some digitally only, starting with the self-titled Chaka, which will feature a new remix of “I’m Every Woman” by DJ Rashida featuring Sheila E., liner notes from Emmy-winning journalist Kelley Carter, and bonus tracks from the original sessions.

Perc Trax hits 100 releases with Perc returning with his first album in seven years. 'The Cut Off' is Perc's fourth album following 'Wicker & Steel' (2011), 'The Power & The Glory' (2014) and Perc Trax's best ever selling release 'Bitter Music' (2017).

'The Cut Off' see's Perc deliver his most dance floor focused album to date, serving up enough energy to keep contemporary dance floors moving, whilst avoiding both the cliched 90's throwback hard techno formula that is dominant right now and the stuckist 'real techno' blueprints that are still endlessly regurgitated having been established over 30 years ago.

Across the album Perc's well established industrial credentials collide with giant sized synth riffs, driving acid lines (a first for a Perc album) and all manner of drones, choral performances, urban textures and even a dentist's drill (on 'Static'). Gliding arpeggios and slow moving melodic lines feature more on this album than ever before without dulling the sharp edges of Perc's music.

'The Cut Off' more than any previous Perc long player is an album that focuses on the club, the dancer and the dance floor. Yes, there are moments of respite between the classic Perc percussive workouts, but they are far outnumbered by the varied collection of club tracks that come at the listener from every angle.

Collaborations include Sissel Wincent, a regular collaborator with Peder Mannerfelt. Perc remixed Peder & Sissel's 'Sissel &Bass' track to great effect in 2019 and now Sissel returns the favour appearing on 'Static', the album's only full vocal track. Also collaborating with Perc is EAS, one of America's fastest rising techno artists who delivers the raw acid lines that power album highlight 'Cold Snap'. Finally London based metal vocalist Leandro Bastos adds his abrasive vocal tones to 'Imperial Leather', the first single to be taken from 'The Cut Off'.

The 'Cut Off' was recorded in Perc's own studio and mixed by Perc at Map Studios in London. The album was mastered by Matt Colton at Metropolis Studios. Album design was handled by Lucas Grassmay, who previously worked on I Hate Models' debut album on Perc Trax in 2019. The album will be supported a run of dates around the world where Perc will be performing a special live set based around the album as well as his infamous DJ sets.

More about the world has changed than not in the decade since dance production dyad Frank & Tony released their last full-length record, 2014’s You Go Girl. Despite, or perhaps in spite of, this shifting landscape, house music has managed to stay fundamentally reliable (either a bug or its greatest feature, depending on who you ask). Where previously, Frank & Tony have been celebrated for their contemplative, studious approach to the genre, with 2024’s Ethos, the Brooklyn/Biarritz-based duo return amidst metastatic cultural upheaval to prove out those scholarly credentials — with an album that serves to remind listeners why dancefloors and liberatory politics consistently share the language of movements and revolutions.
Undoubtedly, Ethos is tremendously influenced by the multitude of projects originating from, and supported by, the duo and their label in the decade since You Go Girl– releasing records from a vast diversity of artists (including Nadia Khan, Gry, Villete, Darand Land, Alex Albrecht, DJ Sprinkles and CCL), and Harris becoming curatorial voice of Brooklyn’s premiere venue for audiophiles, Public Records, where he continues to amplify work across a global diaspora (and where the duo maintain a residency of wide praise).

It is this bright energy and focus on the necessity of community and relationships that animates the aptly-titled Ethos. If past Frank & Tony releases have been lauded as ‘a coloring book in which someone has exclusively drawn inside the lines… with extreme precision,’ Ethos deviates by inviting friends in for a game of exquisite corpse. From singer and pianist Eliana Glass, whose androgynous, double-reeded voice freestyles across album opener Olympia, to distinct track features from fellow house masterminds DaRand Land, DJ Aakmael and Lawrence over half of the album’s nine tracks highlight artists in the larger Scissor & Thread circle.

Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums. The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings, mastered by Will Yip and released through Run For Cover Records, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Ivy Falls, the alias of singer-songwriter Fien Deman, will release her first full album in the spring of 2024. 'Sense & Nonsense' sounds mature, with a clear vision and direction. Fien wrote the album after a breakup and leaving her home; she witnessed cracks appearing in her life and found herself in a whirlpool of insecurities. Writing turned out to be the way to reorient herself and discover what she could fill her empty 'house' with. Everything changed: a new life, a new place, new people, and a new view of herself as a musician and writer. Bram Vanparys, aka The Bony King of Nowhere, makes his debutas a producer on Ivy Falls' first release. This unreleased duo impresses with 'the best coda for the confusing time that your twenties can be.'

Sometimes hitting a wall is inevitable. This occurred, partly even literally, in 2020: a broken nose, a painful breakup, and a series of chaotic events shook Fien's foundations. Losing her job, ending her relationship, leaving her home, and returning to her parental home, she hit rock bottom and started her quest to rebuild everything from scratch. After the tumult, Fien decided to shed the oppressive norms and ideas learned as a child and wholeheartedly pursue her own choices and projects.

In the years that followed, each aspect of her life gradually fell into its right place. This extended to her musical identity, themes, and sound. Acquiring some guitars and an upright piano, she endeavored to master them as a self-taught artist. Devoting ample time to her self-made home studio, she returned to the essence, distancing herself from the polished pop sound of her initial work and reconnecting with her first musical love - the singer-songwriters who had colored her teenage years. This rediscovered inspiration marked the first time in her musical career that everything felt perfectly aligned.

The album's artistic approach aligns with a fresh, expansive outlook on life and the future. Fien aims to challenge rigid societal concepts, including the notion of 'golden years.' She questions what and when exactly should be considered the most significant, joyful, and vibrant moments of life. The album delves into topics like the perceived superiority of extroverts, narcotic materialism, and toxic positivity. It's not a lament but rather an ode to what truly matters-the essence, love, and beauty. Fien's perspective encourages finding your inner child and immersing yourself in timeless and profound feelings.

Musically, Fien discovered her perfect match in Bram Vanparys (The Bony King of Nowhere), her newfound love. She wrote the songs, and he took on the role of album producer and co-arranger. Together, they crafted a metaphorical space where every small musical idea has room to flourish, and each insight and effort carries significance. Influenced by indie folk luminaries such as Julia Jacklin, Amen Dunes, Feist, Sharon Van Etten, Sufjan Stevens, and Nick Drake, Ivy Falls has set a high standard for her sound.

The main constant? Fien's distinctive voice commands every song, now revealing greater depth and nuance than ever. In live performances, Ivy Falls is joined by a talented ensemble: Trui Amerlinck (Tsar B, Mayorga), Jasper Morel (Black Box Revelation), Simon Raman (Steiger), and Anton De Boes (Philemon).

In the past, Ivy Falls has launched two EPs, received airplay on Studio Brussels and Radio 1, and shared the stage as supportfor artists like Balthazar, Jessie Ware, Sigrid, and Mabel.