Buscar:willi j

* Solid production from the Riz crew aka Nick Manasseh and Gil Cang (Tuff Scout) featuring the legendary Willie ‘Armagideon Time’ Williams from 1995.
* UK roots reggae sounding crisp and sweet with a dub-wise excursion `Higher Than High’ on the B-side.
* First time on 45.

FRAK IS BACK! ...and back they are, under a new moniker for Lost Control 2097 as dj Willie Oboe. Residing from Sweden, legends in acid and techno, countless releases spanning 30 years under the Frak alias, history, history, etc, etc. We don't need to give you a long bio for this EP, it speaks for itself. For the 2nd release on the label, we (& dj Willie Oboe obviously) are offering you 4 slices of plasma house and cybernetik techno served up with a slithered seasoning of mastering from audio demi-god 'Patrik Book'. This is for all the people that went to the space raves of 2088, this is for the people dancing in the fields of Mars in 2092 and this is for the people who built the plasma machines so we're able to bring these futuristic sounds back in time to 2021. WHERE WERE YOU IN 2092?

Making her stage debut in April 2019 and selling out her first
headline show at London’s prestigious Southbank Centre less
than a year later, A.A. Williams hit the ground running. Similarly,
the acclaim for her performances and her music has been
unanimous from the start. After one self-titled EP and a
collaboration with Japanese post-rockers MONO, the Londonbased singer songwriter signed to Bella Union and released her
stunning debut album, ‘Forever Blue’, in July 2020.
 That Southbank show would prove to be the last time she would
take to the stage for a long while as the world struggled to cope
with unforeseen and extreme challenges. Never a musician to sit
still, the classically trained multi-instrumentalist focused her
creativity on arranging - firstly, by stripping back to the most
delicate bones on her ‘Songs from Isolation’ covers record and
now with a complete reimagining of her own material as the four
songs from her debut EP become ‘arco’.
 Not many musicians have the ability - or indeed bravery - to
rework a collection of their own full band ‘rock’ songs into a stringand-voice arrangement. A.A. Williams, however, is not like many
musicians and the minimalism of Arvo Pärt and Gorecki has long
since sat beside Vaughan Williams' folk-inspired classical work as
important influences on her music. Indeed, the intention with the
EP was for Williams to challenge herself by not retaining guitars
and drums, meaning ‘arco’ had to be truly reimagined with a full
string ensemble.
 As Williams describes it: “The main focus of the arrangements is
trying to maintain the authenticity of the original songs that, whilst
embodying some of the more familiar elements of the full-band
settings, draws focus on the voice.”
 Conducting the ensemble of string musicians in the studio, A.A.
Williams has evolved her own compositions with new
instrumentation and arrangements, encapsulating the singular
vision of a unique artist.
 12” pressed on 140g ‘Galaxy White Purple’ vinyl with signed
12”x12” print and digital download code.

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

Originally from Limerick, O’Brien’s work captures the everyday and the inbetween in a way that transcends any genre label. Writing from her own observations, O’Brien’s influences can be found in the realism of Mark E. Smith of The Fall, Patti Smith and The Slits, and the works of literary icons such Frank O’Hara, W.B. Yeats, Joan Didion and Albert Camus. Releases to date have drawn admiration from British and American outlets and radio stations as diverse as The FADER, Stereogum, The Guardian, Loud And Quiet, The Quietus, BBC Radio 1 and BBC Radio 6 Music, and more.

Speaking about the new single, O’Brien explains: “‘Most Modern Painting’ is about the creation and maintenance of ‘the self’ - the most epic task we are faced with in our lives. I wanted to work with structure in an unconventional way, linking the movements together using various voices from the narrative. The lyrics are voiced through a dialogue between the conscious and unconscious, through dream recall, memory, the individual and the ego.”

The accompanying music video for ‘Most Modern Painting’ was shot in a film-like manner on 16mm. Directed by Saskia Dixie, the movements are intrinsically linked to the lyrics; the choreography incorporates physical theatre, dance and elements of daily gestures and habits.

The chorus line on ‘Most Modern Painting’ birthed the title for the EP ‘Drowning In Blessings’ - “The more I said it, the more it meant. It’s an image which I find really cathartic; seeing the weight or build up of things as possibilities and opportunities instead of bearing their burdens. I approached the set of songs on the EP like a short album so the body of work feels full and tells a substantial story. Tracks allude and refer to one another and provide clues and hints to the future and to the past. It’s not only about language and music - it’s about energy, spaces, leaving room for other people to get in.”

A multifaceted artist, O’Brien’s writing has also been published by the esteemed London Magazine whose alumni include T.S. Eliot, Sylvia Plath and William Burroughs. Her unique fusion of spoken lyrics and art rock has piqued the attention of luminaries of both fields, seeing her perform with John Cooper Clarke and The Brian Jonestown Massacre at sold out theatres across the U.K. Playing live with her band and collaborators; Julian Hanson (guitar) and Oscar Robertson (drums), Sinead O’Brien’s transfixing performances are placing her at the forefront of a resurgent wave of independent British and Irish talent.

Peace of mind after the book release and the long awaited drop of the 5 tunes we were expecting from the pressing plant. While Escai is finalising the cover of Jay Nemor’s album, now it's time for me to go back to work with Yann, the London member of our Funk Investigators little patrol.
Hailin' from Houston TX, Leroy Allen started his career in ‘69 with the group “THE SYMPHONICS “, that later became GOD’S GIFT TO WOMEN, which in 1972 recorded “Let Your Heart Be The Judge“, which still gets air play more than thirty years later. In the early 80’s Leroy started the group ”
The Perfect Timin' Band”, which backed BO WILLIAMS, while touring with Cameo, and Gerald Levert. Perfect Timin' also opened for New Edition, Baby Face, Roger Troutman & Zapp, just to name a few. In 2013, Leroy Allen has started a solo project with the new hit single “I WANT IT “, receiving heavy rotation in the Southern United States and European Markets. Mr. Allen recently formed “Orion The Band” which consists of top musicians from the Houston area, creating the foundation for the “I Want It” Project, of which both songs included in this release are a natural developement. Catchy, extremely soulful, just perfect for this mid summer rainy day!

For all overthinkers and introverts. On their debut album "Smalltalk & DMCs", the Berlin indie-pop trio Varley finds strength in vulnerability. The result: an album like a good friend.

The indie-pop trio Varley is Dublin-born Claire-Ann and German band mates Joschka Bender and Matthias Heising. Initially influenced by Bon Iver, and citing the likes of Fleetwood Mac, The Cardigans and Phoebe Bridgers as other notable touchstones, what lies at the core of Varley’s affective, heart-on-sleeve music is its willingness to be vulnerable. Their music is an honest and raw outlet, and the cathartic nature of their songwriting is one to be championed.

"WHAT THEN?" is the second album from Irish singer-storyteller David Keenan. The follow-up to his critically acclaimed 2019 debut "A Beginner's Guide To Bravery", which charted at Number One on the official Irish independent album charts, and Top 10 on the national album charts. It was also one of the best selling vinyl album releases by an Irish artist of 2019. At the end of 2019, David Keenan premiered his concert film 'Alchemy & Prose' at the London Doc'N'Roll film festival. "WHAT THEN?" has been produced by Jonathon Mooney of Portland, OR cinematic-indie rockers Other Lives. Guests on the album include celebrated Scottish author, namesake and soul brother David Keenan, Irish poet Stephen Murphy and Nashville drummer Aaron Steele, best known for his work with Portugal. The Man and Hayley Williams. David Keenan will be touring America in September as special guest of Rodrigo y Gabriela before returning to Europe to headline his own tour through October to December.

Norah Jones has been a steady voice of warmth and reassurance for nearly 20 years since her cozy 2002 debut album Come Away With Me became a familiar musical companion for millions of people around the world. Now the 9-time GRAMMY-winning singer, songwriter, and pianist has made her first-ever holiday album with I Dream Of Christmas, a delightful and comforting collection of timeless seasonal favorites and affecting new originals that explore the complicated emotions of our times and our hopes that this holiday season will be full of joy and togetherness. I Dream Of Christmas will be released October 15 on Blue Note Records and can be pre-ordered now on vinyl, CD, and digital download.

“I’ve always loved Christmas music but never had the inclination to make a holiday album until now,” Norah says. “Last year I found myself listening to James Brown’s Funky Christmas and Elvis’s Christmas Album on Sunday’s during lockdown for a sense of comfort. In January 2021, I started thinking about making a Christmas album of my own. It gave me something fun to work on and look forward to.”

The album’s opening track, Norah’s original “Christmas Calling (Jolly Jones)” is available to stream or download today. Over chiming piano chords, Norah expresses a deep desire for holiday cheer and companionship. “I wanna hear the music play / I wanna dance and laugh and sway / I wanna happy holiday for Christmas.”

“When I was trying to figure out which direction to take, the original songs started popping in my head,” Norah explains. “They were all about trying to find the joys of Christmas, catching that spark, that feeling of love and inclusion that I was longing for during the rest of the year. Then there are all the classics that have that special nostalgia that can hit you no matter who or where you are in life. It was hard to narrow down, but I picked favorite classics that I knew I could make my own.”

Among the album’s many pleasures are Norah’s playful reinvention of The Chipmunk’s “Christmas Don’t Be Late” by David Seville (aka Ross Bagdasarian), which is given a languid beat and swaggering horns. Other highlights include sublime versions of “White Christmas,” “Blue Christmas,” “Winter Wonderland,” and “Christmas Time Is Here.”

I Dream Of Christmas was produced by Leon Michels, and features an excellent cast of musicians including Brian Blade on drums, Tony Scherr and Nick Movshon on bass, Russ Pahl on pedal steel guitar, Marika Hughes on cello, Dave Guy on trumpet, Raymond Mason on trombone, and Michels on saxophone, flute, percussion, and more.

Norah Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described “moody little record” that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 GRAMMY Awards. Since then, Jones has become a nine-time GRAMMY-winner. She has sold 50 million albums and her songs have been streamed six billion times worldwide. She has released a series of critically acclaimed and commercially successful solo albums—Feels Like Home (2004), Not Too Late (2007), The Fall (2009), Little Broken Hearts (2012), Day Breaks (2016), Pick Me Up Off The Floor (2020), and her first-ever live album ‘Til We Meet Again (2021)—as well as albums with her collective bands The Little Willies, El Madmo, and Puss N Boots featuring Sasha Dobson and Catherine Popper who released their second LP Sister in 2020. The 2010 compilation …Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Since 2018 Jones has been releasing a series of singles including collaborations with artists and friends such as Mavis Staples, Jeff Tweedy, Thomas Bartlett, Tarriona Tank Ball, Rodrigo Amarante, and Brian Blade, some of which were compiled on the 2019 singles collection Begin Again.

Ross Sinclair is a drummer, guitarist and founding member of The Soup
Dragons. In the early 1990s Sinclair left the group to complete his studies at
the Glasgow School Of Art.
Ross Sinclair is best known for his Real Life project, initiated in 1994 when he
had the words ‘Real Life’ tattooed across his back. Since then Real Life has become a 23-year performance project, taking form in a wide range of exhibitions, public art and publication contexts. Over the two decades of the Real Life
project, Sinclair’s work has employed various mediums including performance,
painting and music, often at the same time.
Through installation and audience participation Real Life has sought to challenge the conventional exhibition practice and connect with the public. These
projects have been exhibited worldwide. Throughout the course of the project,
a consistent thread of Sinclair’s work has sought to address the nature of the
individual, collective and national identities of Scotland.
During August 2015, Sinclair exhibited his work in 20 Years of Real Life at Edinburgh’s Collective Gallery which celebrated 20 years of his Real Life project.
Sinclair worked with teenagers to create 5 bands and produce an LP titled Free
Instruments for Teenagers. Real Life is Dead/Long Live Real Life The most recent incarnation of the Real Life project came as part of a two-week residency
Ross Sinclair undertook at the Shanghai Himalayas Museum in China, ahead of
his solo exhibition titled Real Life is Dead/Long Live Real Life.
This exhibition served to herald a new phase of Sinclair’s on-going Real Life project. For the exhibition Sinclair added the text ‘Is Dead’ to the ‘Real Life’ tattoo.
The residency focused on the consistent themes of participation, performance
and collaboration, coupled with Sinclair’s use of music in his art throughout his
career. Sinclair worked with students at the GSOA over a period of two years to
develop and record two songs (Real Life is Dead and Long Live Real Life) which
lay at the core of the exhibition. The songs were recorded in both English and
Chinese.
In Shanghai, Sinclair worked with local musicians, artists and singers to create the Chinese-Scottish Real Life Orchestra - a musical dialogue between the
Chinese audience and Sinclair’s Real Life Project. The group came together in
a collective voice, in English and Chinese, to share experiences through music.
The orchestra presented a live performance at the opening reception of the
Phase Three exhibition of CURRENT: Contemporary Art from Scotland, which
provided the soundtrack to Sinclair’s installation consisting of multiple editions
of banners and videos representing the 23-years of the Real Life project. Participants were also invited to respond to the themes of Real Life is Dead/Long
Live Real Life with words and pictures which were displayed on banners and
placards.

Hailing from the United States, Haunt began as the work of modern
renaissance man Trevor William Church.
Son of Montrose / Sammy Hagar solo bassist Bill “The Electric” Church, the
California native came to prominence as the vocalist/guitarist of doom-lords
Beastmaker, who’ve released two critically acclaimed albums on Rise Above.
As Haunt, Church went solo and created a bewitching brew of classic, turn-ofthe-’80s heavy metal, drawing deeply from the momentous NWOBHM movement. He proved just how proficient and powerful his vision is with Haunt’s
2017 debut EP, ‘Luminous Eyes’, which was originally self-released but then
picked up for physical release by Shadow Kingdom not long after.
Fans and critics all agreed, and quickly: Haunt is heavy metal heaven, and
Church’s brilliance has only just begun

A jazz musician’s vision of hip-hop’ – The Times

NYC-based rap lyricist and jazz trumpeter Pan Amsterdam returns on Def Pressé with a distinctly fresh sonic swagger on single RETAIL, announcing the P.A.&JSammich EP 4-track EP.

RETAIL exemplifies perfectly the mood of the EP (which sees a very limited vinyl release), four tracks of cheerily ominous storytelling set to synth stabs and trumpet flourishes, with a smattering of personality disorder.
The release follows up BBC 6Music favourite, the GUTS-produced single Carrot Cake, and its mother album, HA Chu.
Carving his own niche of a jazz-rap very different to and darker than its Golden Age cousin, Pan Am’s sophomore LP (“one of the strangest rap works of recent times”, thanks, The Independent) saw him hit the buttons of leftfield hip hop fans and word association enthusiasts.

Ha Chu saw Pan Am reflect on his touring life over the years, from his jazz scene displacement in NYC to becoming a songwriter and bandleader for Iggy Pop under his real life pseudonym, Leron Thomas. HA Chu featured collabs with the aforementioned GUTS, Jason Williams of Sleaford Mods, Malik Crumpler of Madison Washington (and Def Pressé) and Coup Diablo - aka Jimi Goodwin of Doves.
Pan Am’s first album, The Pocket Watch, saw him tour with DJ/producer Mr.Shn and rapper-wrestler/‘What Had Happened Was’ podcast host Open Mike Eagle.

Since signing with Rhymesayers in 2015, Sa-Roc has continued to both invigorate and grow her fanbase with a string of singles, accompanied with powerful and visually enthralling music videos, including "Forever", which is nearing 4 million views on YouTube. In that time, she has continued to cultivate and sharpen her skill sets, and now she is set to release her first album for the label. Speaking on the meaning of the album's title and inspiration, Sa-Roc shares, "The Sharecropper's Daughter speaks to my father's actual beginnings on a Virginia tobacco farm where his family sharecropped. The title is meant to signify that both my father's and my upbringing, though so different, are linked by a shared history that informs the way I move through the world. Although his formative years were spent in the Jim Crow era of the south, where he suffered through poverty and racial oppression, and mine were shaped in the heart of DC, amidst the war on drugs and the effects of its fallout, the album finds points of connection in two very different yet tragically familiar stories of Blackness in America. It's a sonic reflection of the things we inherit. About the emotional weight that we unknowingly bestow upon the next generation; the genetic transfer of both trauma and triumph that we, both donors and beneficiaries, are tasked with reshaping into a future of our own." The Sharecropper's Daughter album is entirely produced by a veteran renaissance man from the Atlanta Hip Hop scene, Sol Messiah, with the exception of "Deliverance" produced by Evidence. And, while Sa-Roc's crafty wordplay, razor-sharp delivery and exceptional writing are the prominent highlight, this undeniable quality is only further enhanced by stellar guest performances from a small, but formidable, all-star cast of guests, including Saul Williams, Styles P, Ledisi, Chronixx, and Black Thought. This Fall, Sa-Roc seeks to demand her rightful place at the table amongst rhyme royalty with The Sharecropper's Daughter, at a time when the world is clamoring for powerful voices of substance, along with a patient and attentive fanbase who have already been tuned in, waiting for this moment. The time is finally here

Asleep At The Wheel is celebrating their 50th Anniversary with the release of Half A Hundred Years. The nineteen tracks feature original band members, current band members and guest artists. The special guest artists are Lyle Lovett, George Strait, Lee Ann Womack, Willie Nelson, and Emmylou Harris.
Tracks 1 - 11 are new songs featuring the original band members. Tracks 12 -16 are old songs featuring the current band members and Asleep At The Wheel alumni. Tracks 17 - 19 are songs from the vaults that have never been released and track 14 features the current and the two previous female band members.

Free Jazz pioneer, Evan Parker, returns to Walthamstow to record an album taking inspiration from the renowned designer and activist, William Morris, at the home of the socialist campaigner, which now houses the William Morris Gallery.

Nachpressung der beliebten Compilation! Auf "Singles Round Up" kommen die ersten zwölf 7"-Singles, A&B-Seiten von Holly Golightly zusammen. Mit dabei ist das bluesige ,No Big Thing" mit seinem Barklavier und der Mundharmonika, das schmutzige gitarrenlastige ,Til I Get", die mit dem Jazzbesen bearbeiteten Drums und der Kontrabass von ,Come The Day", das eindrückliche ,Stain" und die brillante Coverversion ,Box Elder" von Pavement. Holly Golightly (ihr echter Name!) begann ihre musikalische Karriere 1991 bei Thee Headcoatees, einer Splittergruppe von Billy Childishs Thee Headcoats. Nach vier Jahren als Headcoatee trennte sie sich von der Band, um 1995 ihr Solodebüt ,The Good Things" zu veröffentlichen. Während bei den Headcoatees ein 60's Girl Group Sound auf dreiakkordigen Garagerock traf und viele Songs sowieso aus der Feder von Billy Childish stammten, vermischten sich auf Hollys Soloplatten Blues aus der Zeit vor dem Rock'n'Roll mit Folkrock und einer entspannteren Rock'n'Roll Gangart. Neben Coverversionen von Künstlern wie Willie Dixon, Ike Turner oder Lee Hazelwood schreibt Holly den Großteil ihres Materials selbst. Holly Golightly ist ohne Frage die interessanteste und vielseitigste Künstlerin aus der Schule von Billy Childish und ist mit Sicherheit eine der besten Songwriterinnen der Post-Grunge Ära, die mit jedem Album besser und besser wird. Seit ihrem Debüt 1995 war sie stetig aktiv, hat eine ganze Stange von Alben und eine noch größere Stange Singles für die verschiedensten Labels veröffentlicht und in den USA, Australien und Europa getourt.

Neon Christ, the Atlanta hardcore luminaries founded by Alice in Chains singer William DuVall have announced the official release of 1984 for 17th September. This collaboration between Southern Lord Recordings/DVL Recordings was originally released on Record Store Day U.S.only, now to be made available more widely.

The package includes a full-colour gatefold sleeve and a 12-page oral history booklet featuring dozens of never-before-seen photographs. Heavyweight vinyl at 45 RPM for maximum fidelity.

Neon Christ formed in the fall of 1983 with William DuVall on guitar, Jimmy Demer on drums, Danny Lankford on bass, and Randy DuTeau on vocals. They made their debut in the early morning hours of New Year’s Day 1984. That March, they recorded their eponymous debut 10-song EP. Released in June ’84, the EP's songs exemplify the band's signature musical diversity, from DRI-style thrashers like "Parental Suppression" to the atmospheric improv of "After." A short east coast tour followed. On Labor Day 1984, the band recorded four tracks in the home studio of Nick Jameson, of Foghat fame. A few months later, "Ashes to Ashes" was included on the International Peace/War compilation released by MDC's R Radical Records, bringing the band worldwide exposure.

Neon Christ shared the stage with the luminaries of 80s hardcore including the Dead Kennedys, Circle Jerks, and Corrosion of Conformity. In 1985, the band added Shawn Devine on second guitar, as their sound and songs became slower, heavier, and more melodic. DuVall wrote an album's worth of songs in 1985, but only "Savior (Drawn In)" was ever recorded in what would be the band’s final studio session on December 26, 1985 (the master tapes were lost). Returning to the four-piece original lineup, the band played a handful of Atlanta shows and then took a break in March of 1986. A few months later, William moved to Santa Cruz, CA, to join BL’AST!, and Jimmy, Danny, and Randy formed Gardens of…William later founded jazz/punk/world improvisers No Walls. In 1999, he would form Comes With The Fall and move the band to Los Angeles, where he struck up a friendship and musical collaboration with Jerry Cantrell. William joined Alice in Chains as vocalist and guitarist in 2006. On February 2, 2008, Neon Christ reunited to headline the Ratlanta Punkfest 2.

To this day, the band members maintain a close friendship, as well as a desire to honour the legacy of the group. So when longtime fan Greg Anderson of Southern Lord contacted them about reissuing a deluxe edition of Neon Christ's 1984 sessions, "1984" quickly came to life. To remaster the original tapes using an all-analog process, William DuVall made multiple trips to Nashville to one of the few remaining studios maintaining the vintage technology to play and process the audio. Side one of "1984" features the original Neon Christ 7" EP, and side two contains the four songs of the Labor Day session

During the production of two singles (This being the first) unfortunately William Stuckey passed away, below are some words from my partner in the project Brian Sears regarding our work with him pm his LP.

Brian Sears - I'm not one that likes to write but I wanted to say a few things about William Stuckey. William Stuckey passed away last in August 2021 at age 73, and is an artist that I've been working with since last summer. He was a key fixture in the Little Rock music scene and most notably was one of the driving forces behind the legendary True Soul label. Lee Anthony, the owner of True Soul Records, once told me that William Stuckey was the most talented musician he had ever worked with, and if you know anything about that label or Lee Anthony, that's quite a compliment.


When I reached out to William last summer about re-releasing his material, he ignored my calls and messages. Fortunately, I was able to reach his son, Erreyon who was kind enough to listen to me. I've worked a lot of terrible sales gigs in my past and "getting to the point" is sometimes a hard thing to achieve, especially when you're trying to talk about the music business and music that's 50 years old. But the point was simple, his music matters and deserved to be preserved. This resonated with William and Erreyon and they gave Euan Fryer and myself a chance.There was a memorable handoff of the master tapes in a parking lot and from that point forward I knew William Stuckey trusted me. Trust is something he had to do a lot in his life due to the fact that he was visually impaired and I'm thankful he trusted us. As I wrote before, there was a long process of transferring the tapes, but it was successful, and the album has never sounded so good. William had incredible hearing and was able to pick out details most might not detect. He was gifted and that shined through his own playing and voice through copious recordings. Speaking with him after he finally heard the newly remastered album, the way he had intended for it to sound, is something I'll never forget. Moments like that are really the reason why I feel so compelled to work with older musicians that didn't get a fair shake the first time.

Meeting William Stuckey face to face earlier this summer was one of the highlights of my year. We laughed and hung out at his place where he had lived for the past 50 years. I told him his music was internationally known and the re-release was well received. He was humble and felt like a long lost friend that I hadn't seen in a long time. I'll never forget that. I told him I wanted to take some photos, and I'm so glad I did.We had a good time and it was a beautiful summer night and as I left his place his neighbours noticed me walking to my car and wanted to chat, so we talked briefly and it ultimately lead to one of them getting into their car and cranking "The First Time" on the stereo system in their driveway. I wasn't sure if Stuckey could hear it from his house, but part of me knew he probably could and hearing his song echo in the background as I drove off and thinking about Stuckey and the time we shared and his music being appreciated by so many, even in that moment, is a wonderful memory. I'd like to think he was smiling.His music and legacy will live on forever.
Rest in peace to a great one.

Already renowned for a ball-tearing live show, The Sniffers
made their international debut as one of the hottest tipped
acts at The Great Escape in 2018. Soon afterwards, they
signed deals with both Rough Trade Records and ATO
Records, made a massively hyped appearance at SXSW,
and finally released their self-titled debut album in 2019,
landing them an ARIA (Australian Recording Industry
Association) Award for Best Rock Album, capping off a wild
year for the lunatic, likeable punks.
Late in 2020, Amyl and The Sniffers went into the studio with
producer Dan Luscombe to record their sophomore album,
‘Comfort To Me’. Written over a long year of lockdown, the
album was influenced by and expanded on a heavier pool of
references - old-school rock’n’roll (AC/DC, Rose Tattoo,
Motörhead and Wendy O Williams), modern hardcore
(Warthog and Power Trip) and the steady homeland heroes
(Coloured Balls and Cosmic Psychos).
Lyrically, the album was influenced by Taylor’s rap idols and
countless garage bands and, in her words, “I had all this
energy inside of me and nowhere to put it, because I couldn’t
perform, and it had a hectic effect on my brain. My brain
evolved and warped and my way of thinking about the world
completely changed.”
Seventeen songs were recorded in the ‘Comfort To Me’
sessions and the top thirteen made the cut. They were mixed
long distance by Nick Launay (Nick Cave, IDLES, Yeah Yeah
Yeahs) and mastered by Bernie Grundman (Michael
Jackson, Prince, Dr Dre).
‘Comfort To Me’ demonstrates the same irrepressible smarts,
integrity and fearless candour as their debut but, as you’d
expect of any young band five years on, their sound has
evolved - in Amy’s words, it’s “raw self-expression, defiant
energy and unapologetic vulnerability.”

Blind, Chicago soul singer Willie Williams was first discovered performing in clubs in and around the Windy City. He was signed to ABC records by their A&R Director for the Midwest Johnny Pate a former Jazz bassist, independent producer, arranger and songwriter in his own right. Pate was a friend and colleague of fellow musician, songwriter and founding member of one of ABC’s prolific vocal groups The Trends, Tom Dorsey. Pate and Dorsey would contribute heavily as writers and producer throughout Willie’s recording career, beginning with his first ABC 45 release in 1966 “Have You Ever Been Played For A Fool/With All My Soul”. The release’s b-side became a popular radio play at the time with Willie becoming known as Willie “Soul” Williams for a while. Two further ABC releases were to follow “It Doesn’t Pay/Just Because” (1967) and “I’m Through With You/Strung Out” (1968).

Willie’s next 45 release although recorded in Chicago under Johnny Pate’s supervision found it’s way to another major label, RCA, although credited as a GWP Production (Gerrard W. Purcell). The 45 in question being the excellent Tom Dorsey penned songs “Just To Be Loved By You/Name It” released during 1969.

Two Willie Williams 45 releases did appear on the Gamma label but I’m unsure if one or both of these are by the same Willie Williams in question.

Throughout his recording career Willie continued to work the clubs with his own band which was led by his bass guitarist and confidant Bradley (Brad) Bobo a man who featured as a session musician on many recording sessions including the creation of The Notation’s album of the same name for Curtis Mayfield’s Curtom subsidiary label Gemigo.

On the 22nd of December 1970 a recording session was held in RCA’s Studio B, on North Wacker Drive, Chicago with sound engineer Russ Vestuto. The session was financed by Tom Dorsey who amongst other song writing gratuities had been paid handsomely for the 3 songs “Love Machine”, “My Baby’s Love” and “How Are You Fixed For Love” which he had wrote and contributed to the blue-eyed hit group, The O’Kaysion’s “Girl Watcher” ABC album. The result of this session yielded four Willie Williams tracks. Brad Bobo played bass guitar on the session, the composer of the four songs Tom Dorsey supplied the arrangements and Tom’s wife Carolyn (also a former group members of The Trends) joined both he and Brad on backing vocals.

The four songs were then offered to Eddie Thomas who chose two of them to release on a 45 single. The two songs being “Must Mean Love” which was later renamed “The Baa Baa Song “and “Psyched Out” which Eddie then released on his own Lakeside label, thus leaving the two other songs to remain unissued in the can.

Willie has now sadly passed away but in his later life once the opportunity’s for performing artists began to dwindle he chose a different path in his life, gaining a Doctors degree, he went on to become a College Lecturer. Tom Dorsey too turned his back on the music industry apart from his publishing company to concentrate on his family life as well as founding a very successful business involving one of his other great life passions, photography. Luckily for us he never lost the master tape of Willie’s sessions and after several years of tentative enquiries he graciously relented to my request to put them out. So now before you we have the two excellent previously unissued Willie Williams songs that Eddie Thomas passed on, the delightfully soulful “Give It All I Got” backed with the funky, social conscience themed “Do You Understand”, lost early 1970’s Chicago Soul at its finest.

Robbie Williams will be reissuing his first two multi-million selling solo albums ‘Life Thru A Lens’ and ‘I’ve Been Expecting You’ on vinyl for the very first time. To be released on 24 September, both titles have been newly mastered at Abbey Road Studios, are pressed on 180 gram heavyweight vinyl and housed in gatefold sleeves, reproducing the original distinctive artwork. Both titles come with Download codes. Originally released in October 1997, ‘Life Thru A Lens’ was Robbie’s debut solo album. It entered the chart at number 11 but had to wait almost six months before it reached number one. It eventually spent 147 weeks on the Top 100 and has been certified 8x Platinum by the BPI for UK sales in excess of 2 million copies. It includes the hit singles ‘Old Before I Die’ (No. 2), ‘Lazy Days’ (No. 8), ‘South Of The Border’ (No. 14), ‘Let Me Entertain You’ (No. 3) and ‘Angels’ (No. 4), the latter his biggest selling single to date, and voted the best song of the last twenty-five years at the 2005 BRIT Awards. Now certified 10 x Platinum by the BPI, with UK sales in excess of 2.5 million, ‘I’ve Been Expecting You’ was originally released in October 1998 when it entered the chart at number one. It returned to the summit the following January and once again a month later. It includes the hit singles ‘Millennium’ (No. 1), ‘No Regrets’ (No. 4), ‘Strong’ (No. 4) and ‘She’s The One’ (No. 1). ‘No Regrets’ features backing vocals from Pet Shop Boys’ Neil Tennant and The Divine Comedy’s Neil Hannon, while album track ‘Win Some Lose Some’ includes the ‘Telephone Voice’ of All Saints’ Nicole Appleton.

Robbie Williams will be reissuing his first two multi-million selling solo albums ‘Life Thru A Lens’ and ‘I’ve Been Expecting You’ on vinyl for the very first time. To be released on 24 September, both titles have been newly mastered at Abbey Road Studios, are pressed on 180 gram heavyweight vinyl and housed in gatefold sleeves, reproducing the original distinctive artwork. Both titles come with Download codes. Originally released in October 1997, ‘Life Thru A Lens’ was Robbie’s debut solo album. It entered the chart at number 11 but had to wait almost six months before it reached number one. It eventually spent 147 weeks on the Top 100 and has been certified 8x Platinum by the BPI for UK sales in excess of 2 million copies. It includes the hit singles ‘Old Before I Die’ (No. 2), ‘Lazy Days’ (No. 8), ‘South Of The Border’ (No. 14), ‘Let Me Entertain You’ (No. 3) and ‘Angels’ (No. 4), the latter his biggest selling single to date, and voted the best song of the last twenty-five years at the 2005 BRIT Awards. Now certified 10 x Platinum by the BPI, with UK sales in excess of 2.5 million, ‘I’ve Been Expecting You’ was originally released in October 1998 when it entered the chart at number one. It returned to the summit the following January and once again a month later. It includes the hit singles ‘Millennium’ (No. 1), ‘No Regrets’ (No. 4), ‘Strong’ (No. 4) and ‘She’s The One’ (No. 1). ‘No Regrets’ features backing vocals from Pet Shop Boys’ Neil Tennant and The Divine Comedy’s Neil Hannon, while album track ‘Win Some Lose Some’ includes the ‘Telephone Voice’ of All Saints’ Nicole Appleton.

The new album "Spectrum" by the vision string quartet presents 13 songs composed, arranged and produced by the four young musicians from Berlin themselves. Inspired by folk, pop, rock, funk, minimal and singer-songwriter music, Jakob Encke (violin), Daniel Stoll (violin), Sander Stuart (viola) and Leonard Disselhorst (cello) have embarked on a journey to their very own sound and genre. The result is an unprecedented musical adventure without borders, shaped by personal experiences, new and old encounters as well as subtle impressions from various cultures. They create a whole world of sounds with just their four string instruments – from guitar, ukulele and bass to bongos or a complete drum set.

Who could forget the BAMs, the BLAMs, and the BAOMMs?!

Ubisoft, Microids and Laced Records have conspired to bring the fabulously percussion-heavy music of XIII to vinyl.

Based on the graphic novel by Jean Van Hamme and William Vance, the 2003 cult first-person shooter adopted a cel-shaded look and visual onomatopoeia to set it apart. Mixing action, stealth, and exploration, XIII is chock full of conspiracy, assassination, and plot twists.

French composer Lionel Gaget created a superb spy-jazz soundtrack that fuses John Barry’s ‘60s James Bond musical blueprint with David Holmes’ Ocean’s Eleven instrumental funk. The 11 specially remastered tracks on the LP — featured in both the 2003 and 2020 versions of the game — are stuffed full of first-class percussion, deep bass and subtle jazz stings.

The audiophile-quality, heavyweight 180g black and white LP will be housed in a deluxe card sleeve.

Vinyl repress of The Muppet Christmas Carol Soundtrack containing the original score by Miles Goodman and the songs by Paul Williams.

In February 1964, Eric Dolphy assembled a formidable quintet of modern jazz visionaries with Freddie Hubbard on trumpet, Bobby Hutcherson on vibraphone, Richard Davis on bass, and Tony Williams on drums, and headed into Rudy Van Gelder's studio to record what would stand as his masterwork: 'Out to Lunch!'. A genius artist of startling originality, Dolphy managed to possess the revolutionary spirit of the avant-garde while keeping a foot firmly planted in the feeling of swing, a rare feat that the five original pieces here perfectly captured from the offbeat swagger of the opening Monk tribute 'Hat and Beard' to the careening closer 'Straight Up and Down.'

awless is 2012 crime drama film by director John Hillcoat (The Road, The Proposition) about a gang of bootleggers in Virginia during the Great Depression. And when we say star-studded, we really mean it: Guy Pierce, Gary Oldman, Tom Hardy and Shia LeBoeuf signed up for the gritty and evocative story about brothers who try to create their own American Dream during Prohibition.

None other than Nick Cave helped Hillcoat with the screenplay, while he also took great care of the movie’s soundtrack. Cave and fellow musician Warren Ellis form the core of The Bootleggers, a country and bluegrass ensemble that welcome a string of guests artist like Emmylou Harris, Ralph Stanley and Mark Lanegan. The Lawless OST contains cover versions of artists such as Velvet Underground and Captain Beefheart and also features original compositions by Cave/Ellis and the great Willie Nelson.

Sinner is the debut studio album by American heavy metal band Drowning Pool. Originally released on June 5, 2001 by Wind-Up Records, it is considered to be the band’s most popular album – earning RIAA Platinum certification within the first six weeks of its release. This was due at least in part to their hit single “Bodies,” which remains the band’s most well-known song. Dave Williams, the band’s vocalist at the time explained how the album got its name in an MTV interview: “I got that “Sinner” tattoo tattooed before we named the record. We were working on the song “Sinner,” and our A&R guy said, “That would be a good name for the record.” It was just a natural progression that became the whole theme of the record. There are a lot of religious issues on the record and a lot of relationship issues. It just seemed like it would fit.” This is album is especially unique in that it is the only studio album to feature the band’s original singer Dave Williams. While touring in support of Sinner, he died on August 14, 2002 from cardiomyopathy. This album is available on vinyl for the first time to celebrate the 20th anniversary of its release.

Once again we teamed up with Ubisoft to bring the music of high-tech action game Watch Dogs: Legion to good ol’ fashioned vinyl. This triple LP set features original score tracks by Stephen Barton and tracks “Rainfall (feat. Tiana Major9)” by Brit Award-winning Stormzy and “In the Jungle” by Baby Knoxx.

Watch Dogs: Legion builds on the open-world stealth-action gameplay of its predecessors, delivering a never-before-seen gameplay innovation. Players can recruit and play as anyone they see in the iconic city of London: an MI6 agent, a tough bare-knuckle fighter, or an inconspicuous old lady.

Composer Stephen Barton has amassed an enviable AAA credits list, including co-composition on Call of Duty 4: Modern Warfare (with Harry Gregson-Williams), the Titanfall series, Apex Legends, and Star Wars Jedi: Fallen Order. For Watch Dogs: Legion’s pulse-pounding original score, Barton blends a dizzying array of electronic and percussive elements, with flashes of breakbeat and layers of atmospheric ambience.

25 tracks specially mastered for vinyl will be pressed onto three audiophile-quality, heavyweight 180g discs.

Five sides include music, with the sixth side featuring a custom etching of the iconic DedSec pig mask. LPs will be housed in a deluxe triple gatefold.

‘Something Good Will Happen’ marks another defiant chapter for MarthaGunn, who consistently prove they are worth their weight in gold through honest and conscientious song-writing, partnered with pristine pop melodies that have caught the attention of tastemakers CLASH, Independent, Dork, The Line of Best Fit, BBC Introducing Track of The Week and John Kennedy (Radio X). This is the sound of a band ever evolving their euphoric sound, where nuanced production and kaleidoscopic samples lift them into the stratosphere. If there’s one goal MarthaGunn want to achieve with their music, it’s connection. Whether it’s Abi giving a voice to her contemporaries via her Songwriters Circle on Instagram live, where she invites her favourite songwriters for a Q&A about their process, guests including Another Sky, Katy J Pearson, Willie J Healey, Flyte and Buzzard Buzzard Buzzard, or setting up a virtual tour in light of having shows cancelled and playing a special live set including a locally sourced cover - her and her band want to remind people that they’re not alone and that, at end of the day, we’re all human and we all have that in common.

The latest chapter in Columbia/Legacy's highly acclaimed Bootleg Series revisits an often forgotten, rich vein in Dylan’s vast and complex catalogue, shining fresh light on the provocative new musical directions Dylan was taking as a songwriter and a recording artist from 1980 through 1985. This set celebrates the rich creative period surrounding Dylan's albums 'Shot Of Love', 'Infidels' and 'Empire Burlesque', with previously unreleased outtakes, alternate takes, rehearsal recordings, live performances and more.








[e] b2 Don’t Fall Apart on Me Tonight [version 1] – Infidels alternate take

[g] c1 Too Late [band version] – Infidels outtake

We are extremely proud to announce our 32nd compilation from the Analog Africa regular serie, "Cameroon Garage Funk", highlighting Yaounde's 1970's underground music scene. The quest to assemble the puzzle-pieces of what seemed to be a long lost underground scene took us to Camroon, Benin and further on to Togo and it was in the cities of Cotonou, Lome? and Sotouboua that we managed to lay our hands on most of the songs presented in this compilation. Since there were no local labels, no producers, and almost nothing in way of infrastructure in Cameroon at that time, the artists had to be everything: musician, producer, executive producer, arranger, financier, promoter and sometimes even distributor. The sixteen tracks on Cameroon Garage Funk pulse with raw inspiration and sweat DYI mood uniting the featured diverse musicians around their willingness to do everything themselves in order to take a chance in the music scene.

With their latest release, "Matasuna Records" brings together two songs from 1966 that were originally released on "J-V/Atlantic Records" & "ATCO Records". Now officially reissued for the first time on 7inch vinyl. Aside from the same release year, the two songs - a Northern Soul joint by "Cliff Nobles" and a Mod Jazz tune by "Russell Evans & The Nite Hawks" - seem to have little in common. However, both are delicacies for any dance floor and combine an irrepressible energy. The two songs thus fit perfectly together on this hot & fiery 45!

"My Love Is Getting Stronger" by "Cliff Nobles" on the A-side is not only a super rare soul gem whose original single cost at least $700 dollars. The song can also be considered one of the best (Northern) soul tunes. A grooving bass, infectious drums & bongos meet great orchestrated horns driven by Nobles' raw yet sweet voice. A smokin' soul cut for any dance floor.

The instrumental "The Bold" by "Russell Evans & The Nite Hawks" on the B-side brings out the same irrepressible energy. The deep bassline, drumbreaks and funky guitar riffs introduce this terrific song. A deep organ joins in perfect interplay and enchants the listener. A great groover that shouldn't leave any record box!

"Cliff Nobles", born in 1944 in "Groove Hill" (Alabama) got into singing in his high school choir in "Mobile" (Alabama). He also became the lead singer of a popular local group called "The Delroys". After school, he moved to Philadelphia to work on his career. He recorded 3 songs for "Atlantic Records", which went unnoticed. He later formed the band "Cliff Nobles & Co" in "Norristown" with "Benny Williams" (bass), "Bobby Tucker" (lead guitar) and "Tommy Soul" (drums).

Through demo tapes, Nobles came to the attention of producer "Jesse James", who began to write songs for the band and helped them get a contract with "Phil L.A. Of Soul" Records. The first release bombed, but the second single, "Love Is All Right/The Horse", brought success. Ironically, the instrumental B-side "The Horse," which Nobles didn't even perform on, became a huge hit. It reached #2 on the charts, sold over 1 million copies and was awarded a gold record by the R.I.A.A..

However, subsequent releases failed to match his success, and he retired from the music business in the early 1970s. Nobles died in October 2008 at the age of 67 in "Norristown", Pennsylvania.

It was once said that listening to ‘Antiphonals’ was, “like listening to a
progressive rock album except it’s just the keyboard parts.” As the
second full-length LP on Late Music, Davachi offers here a slow and
sedate solo affair composed with the various horns and woodwinds of
the mellotron alongside organs, pianos, harpsichord and more quiet
delights.
CD in 4 panel gatefold lancing pack.
LP in standard 3mm spine printed sleeve, poly-lined inner bag and
digital download card.
As a composer and performer of both acoustic and electronic music,
Sarah Davachi’s work is concerned with the close intricacies of
intimate aural space, utilizing extended durations and simple
harmonic structures that emphasize subtle variations in texture,
overtone complexity, psychoacoustic phenomena and temperament
and intonation.
Similarly informed by minimalist tenets of the 1960s and 1970s,
baroque leanings toward slow-moving chordal suspensions and
experimental production practices of the recording studio
environment, in her sound is manifest an experience that lessens
apprehension of consonance and dissonance in likeness of the
familiar and the distant.
Davachi has toured extensively across the globe and has shared the
stage and collaborated with artists such as Grouper, William Basinski,
Ariel Kalma, the Bozzini Quartet, the London Contemporary
Orchestra, Oren Ambarchi, Donald Buchla, Suzanne Ciani, the BBC
Scottish Symphony Orchestra, Jessica Moss, Áine O'Dwyer,
Alessandro Cortini, James McVinnie, Ian William Craig, Kara-lis
Coverdale, Aaron Dilloway, Robert Aiki Aubrey Lowe, Ellen Arkbro,
Loren Connors and filmmaker Paul Clipson.
Between 2007 and 2017, Davachi had the unique opportunity to work
for the National Music Centre in Canada as an interpreter and content
developer of their collection of acoustic and electronic keyboard
instruments. In 2020, she established her own label, Late Music.

The longstanding DJ comes through with a brand new album for the modern times, keeping the tradition alive through a stacked tracklist of heavy hitters. With an extension of the popular posse cut, “Rolling 25 Deep,” DJ Kay Slay ups the ante with an 18 minute anthem, “Rolling 50 Deep,” featuring the likes of Benny The Butcher, Bun B, Styles P, Ghostface Killah, Raekwon and more. He further adds to his track record of pairing together artists for hit records with cuts from Ghostface Killah & Busta Rhymes, Conway the Machine & Sheek Louch, and Juicy J & Jim Jones.

Many great singers passed through the hands of late great soul/
R&B producer Jerry Wexler, from Aretha Franklin to Dusty
Springfield, but Etta James was a singer he willingly waited 20
long years to work with. “Etta is a church in herself,” he said in
his autobiography, adding: “Her voice is a mighty influence, her
musical personality able to express an extraordinary range of
moods.” He further described her as “A woman used but not
spent, abused but never defeated, vulnerable but though sheer
strength of will, victorious.” Her legend lives on in her music.
Press play and share her many emotions…

Back In Love City, the new album produced by Daniel Ledinsky (Rihanna,
Carly Rae Jepson), Andrew Maury (Lizzo, PostMalone) and Fryars (Pharrell
Williams, Mark Ronson), sees The Vaccines both perfecting their winning
formula, and pushing their sound forward, evolving from their previous
foundations with an album that reflects on escapism as a necessary
part of modern living.
With 4 Top 5 UK Albums, including a #1 with 2012’s Come Of Age, and 19 singles playlisted on BBC Radio One, The Vaccines’ fifth album creates a place
where people go to find solace, satisfaction, safety, and connection: Love City.

Big Daddy Wilson, the well-respected North Carolina-born bluesman, who
made his name on the European scene with acclaimed albums like Love Is
The Key (2009) Thumb A Ride (2011), I’m Your Man (2013), Time (2015) and
2017’s Neck Bone Stew has walked a winding road to finally come to record
these Hard Time Blues.
With the release of Deep In My Soul in 2019, Daddy Wilson felt his music and
career had come full-circle in style. “I see it as a journey,” he said of his incredible backstory.
“It’s the journey of a man who found himself deep in this beautiful music called
the blues and finally, after 25 years, made it back home... But the road did not
end there, and Wilson’s new album is taking things even a few steps further:
“Hard Time Blues - Is a reflection of the time we are living in right now and all
the anxieties that life brings....Corona, Poverty, Injustice and other hardships.
It also embraces the different styles of Big Daddy Wilson, Blues, Soul, R & B,
Country and Gospel .
Like Willie Dixon says:” Blues is the Root, everything else is the fruit.” My intent
with this album was to show a more modern side of Big Daddy Wilson. To reach
out a bit more, to use the Soul and R & B that has influenced me throughout
the years. But I still wanted to be true to the blues and my spiritual roots.
The song “ HARD TIME BLUES” came to me by way of Eric Bibb and Glen Scott.
A beautiful blues song, spiced with the spirit of Soul and R & B and blessed with
the Mojo of Glen Scott. This song is also blessed with the Troubadour spirit: the
story telling of the great Eric Bibb.
This album is full of LOVE, FAITH and HOPE, this is my TESTIMONY. So I thought
it be fitting to call the album” HARD TIME BLUES”.
I just want to reach out to as many people as I can, with this message: put a
little Love in your heart.....we need each other.” Big Daddy Wilson

Originally released on the Ovide label from Houston, Texas in 1970 and currently going for around £175, if you can find a copy.
‘Get Your Point Over’ is a brass-led funky dancer that beautifully compliments Sebastian Williams’ soulful vocal style, while the flipside, ‘I Don't Care What Mama Said (Baby I Need You)’, is a slower
groove that lets that vocal really soar, arriving complete with a groovy psychedelic guitar break before Williams testifies to his lady amid some punchy brass stabs.
Two stellar tunes from Sebastian Williams (aka Roger Williams of no-hit wonders The Quarter Notes), whose solo recording career amounted to just three 45s, all five years apart, along with a couple of releases as Sebastian And The House Rockers and finally, in 1975, just Sebastian.
Imagine vintage Tavares lead singer Chubby Tavares at his gritty best with a funky brass section in a soulful Harold Melvin And The Blue Notes styled blast.

Both tracks mastered from the original sound source for maximum soul sound.

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

A selection of exclusive tracks from a dusty shoebox full of cassettes and DAT tapes, recorded by Facehugger and Deviant between 1995 and 1997.

The Parasite EP showcases their first batch of live analogue jams that mash the boundaries of experimental house, deep electro, acid and the hazy bustling sounds of the city – a soundtrack of travelling to raves, staying up late, coming home and making wild mixtapes until early Monday morning.

Despite the untimely passing of his production partner, Deviant, in 2009, Facehugger has remained a dedicated and unique beatmaker, close personal friend and unsung hero of the scene, not to mention “unofficial” manager of the Plates record shop, known for his outspoken, boisterous and loud opinions about any new releases which came in!

Now, nearly 30 years on, nestled in the quiet suburb of Carlton (Nottingham), Facehugger loads up his drum machines and starts to create, with the promise of a new wave of music on the horizon…

DJ support from: Charlie Bones (NTS), Bradley Zero, Coco Bryce, OK Williams, Glenn Astro

The Paradigm-Shifting Fourth Studio Opus From The Norwegian Pioneers.
Presented On 2cd Deluxe Digipack Format & Including A Retrospective Look
At The Album Courtesy Of Writer Jeff Wagner.
‘Themes from William Blake’s The Marriage of Heaven and Hell’ is the fourth
studio album by Norwegian experimentalists Ulver.
Having been known for their more folklore-tinged black metal compositions on
early studio releases, in late 1997, mainman Kristoffer Rygg invited keyboardist, sound conceptualist, and composer Tore Ylwizaker into the collective, and
together they devised a plan for The Blake Album; an altogether far more adventurous endeavour than prior releases.
What resulted was a seamless integration of electronic & industrial music, with
elements of progressive metal & avantgarde rock, all fused with ambient passages, & following Blake’s plates as track indexes. A work of deep and personal
art, the album, while initially surprising to fans due to its complete shift in genre, has become a classic today, and a prime example of the boundary-pushing
evolution beyond the confines of genre expectations through the latter part of
the 90’s. Upon release, ‘The Marriage of Heaven & Hell’ received widespread
acclaim from critics within the rock, metal & alternative music press, being
awarded Album of the Month in several high-profile magazines such as Terrorizer, Metal Hammer, and Rock Hard.
The album notably includes guest vocal appearances from Darkthrone’s Fenriz,
as well as Ihsahn & Samoth; most known for their work in Emperor.
This newly remastered edition of ‘The Marriage of Heaven & Hell’ is presented
on 2CD deluxe digipack format, including full lyrics/text, plus a new article from
writer and journalist Jeff Wagner on the background, nature & triumph of such
an ambitious release.

- Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

The Jesus & Mary Chain picked the perfect time to make this record. Their sonic assaults and industrial pop could’ve only taken them so far. Proving that they were capable of making more intuitive and subtle art, Stoned & Dethroned positions the underlying desperation of the Reids’ music in a different light. Previously known for feedback-drenched pop songs and gothic surf / blues storms, The Jesus & Mary Chain followed a successful year of touring in 1992 (including a slot on the second Lollapalooza tour) by entering the studio to record an acoustic album. The sessions were the first time that principal members Jim and William Reid had embarked on a recording with a full band since their incendiary debut, but the results could not have been different. Though the hooks were still there, Stoned & Dethroned emerged with a calmer, almost folk / country-tinged sound. Any feedback appears as hazy atmospherics rather than pain-inducing squeals. The sound of the album nobly approximates the drugged swagger of the classic early-’70s Rolling Stones records, but with The Jesus & Mary Chain’s uniquely foreboding lyrical perspective.

Guitarists Marisa Anderson and William Tyler distil deeply
rooted and varied traditions into distinctive voices all their own.
Anderson and Tyler are each unyielding in their desire to extend
through those traditions and the confines of ‘guitar music’ to
craft music at once intimate and expansive, conversational and
transcendent.
The duo’s debut collaborative album tethers together their
singular voices into unified narratives that glisten, drive and
sway. On ‘Lost Futures’, Anderson and Tyler’s guitars dance
through lush arrangements and pastoral duets serpentine and
reverent.
‘Lost Futures’ takes its name from writer Mark Fisher’s cultural
theory of the loss of potential futures, the hopes and ideals
which once felt inevitable but have since been interrupted.
Anderson and Tyler’s use of textural drones, rhythmic repetition
and harmonic shifts embody the building tensions of uncertainty
created by profound loss: loss of life, experience,
companionship, compassion. Across ‘Lost Futures’, Anderson
and Tyler mold their instruments into breathtaking panoramas of
blight and bliss. Each movement contains a dense biome of
transportive sound.
The duo’s music together reckons with mounting pressures as
well as the joy of newfound friendship and gratitude for being
able to play together. In tandem, Marisa Anderson and William
Tyler have composed a work of remarkable breadth, brimming
with resplendent odes of solace.
Marisa Anderson and William Tyler are both prolific solo artists.
Tyler has also toured with groups including Lambchop and
Silver Jews and Marisa has contributed to recordings by Beth
Ditto, Sharon Van Etten and Circuit Des Yeux among others.
‘Lost Futures’ features guests Gisela Rodriguez Fernandez on
violin and Patricia Vázquez Gómez playing quijada.
Package features artwork by Sam Smith. LPs include artworked
inner-sleeve featuring photography by Marisa Anderson.

Mondo is proud to continue its on-going celebration of the DC film universe, with an all-new limited edition pressing of one of the most iconic film soundtracks of all time: John Williams' legendary score for SUPERMAN: THE MOVIE.

The marketing for SUPERMAN: THE MOVIE cleverly described itself as a film that would make you "believe a man could fly," but no one involved in the film could be prepared for how that newfound belief would change the world forever. Now, nearly 43 years later, the superhero film industry shows no signs of slowing, but very few have achieved the visual and sonic miracle that the late Richard Donner and the inimitable John Williams were able to do with their epic origin story.

Featuring all new artwork by DKNG, Produced by, and featuring extensive liner notes by Michael Matessino, and pressed on 2x 180 gram black vinyl.

Let’s Face the Music and Dance is the 61st studio album by American country legend Willie Nelson and his band The Family. Produced by Buddy Cannon, this album features a collection of standards that Nelson and his sister Bobbie Nelson played throughout their careers. He recorded the album at his Pedernales studio in Austin, Texas.

Critics gave the album favourable reviews, citing how incredible it is that even at then nearly 80 years old, Nelson’s voice and guitar playing still sound fresh and timeless. The album charted in both the Billboard Top Country Albums as well as the regular Billboard 200 chart.

A vibrant electronic fusion of lounge, jazz, and disco is maybe not the first (or fifth) thing you would expect to hear from one of the world’s most renowned modern composers and ambient tape loop pioneers, but upon first listen, it makes so much sense that one wonders why it didn’t happen sooner.

After years of producing and mentoring slews of young artists in 1990s Williamsburg, Brooklyn, William Basinski moved to Los Angeles. There he hired a young studio assistant, Preston Wendel, who eventually introduced his own works to the curious composer. That spawned a creative partnership that inspired Wendel to persuade Basinski to haul out his saxophone. Five years later, SPARKLE DIVISION has arrived with their enchanting debut album, To Feel Embraced.

Produced by SPARKLE DIVISION at Basinski’s Musex International in Los Angeles, the duo were joined by a few notable friends: Mrs. Leonora Russo (who Basinski affectionately calls “the true Sicilian Sparkle Division, my Brooklyn Mom, the Queen of Williamsburg”) offers her sparkling voice to “Queenie Got Her Blues”; fabled free-jazz icon and genuine bodhisattva, the late Henry Grimes, contributed upright bass and violin to the aptly-named “Oh Henry!” (“Lotta babies gonna be born from this one,” Henry and Margaret Davis Grimes playfully declared); and London vocalist Xeli Grana offers her ethereal voice to the album’s meditative title track.

The latest entry in the ongoing series of exciting collaborations sees the Turkish free form ensemble KONSTRUKT live on stage with THURSTON MOORE.

# 5 in the continuing series of KONSTRUKT collaborations on KARL is a live document of the concert by the Turkish freeform group with THURSTON MOORE. KONSTRUKT, the Istanbul based free jazz / freeform group founded and led by UMUT ÇAĞLAR and KORHAN FUTACI, are known for their openness to and interest in collaborations – and regularly meet up and perform with new partners that range from JOE McPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, ALEXANDER HAWKINS, KEN VANDERMARK or OTOMO YOSHIHIDE. This latest release sees the quartet join forces with one of the indie rock icons: THURSTON MOORE, who besides his decade-long main band SONIC YOUTH always found time and inspiration for solo projects and collaborations of different kinds.

"Turkish Belly", recorded live at SalonIKSV in Istanbul in february last year, is as adventurous and daring as one will expect from such a pairing and a highly rewarding experience for the fans of KONSTRUKT and those of MOORE alike.

[a] 01: Yapayalnız (Gezerler Sokaklarda) [Live] [feat. Thurston Moore]
[b] 02: Sis (Live) [feat. Thurston Moore]
[c] 03: Kurtadam, Pt. I (Live) [feat. Thurston Moore]
[d] 04: Kurtadam, Pt. II (Live) [feat. Thurston Moore]
[e] 05: Zor (Live) [feat. Thurston Moore]
[f] 06: Uğultular (Live) [feat. Thurston Moore]

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
Continued over…
sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

Demon Records presents the narrated TV soundtrack of a ‘lost’ four-part adventure set in ancient
Greece, starring William Hartnell as the Doctor.
When the TARDIS lands on the plains of Asia Minor, not far from the walled city of Troy, the
Doctor is hailed as the great god Zeus. He’s enlisted by the Greek army – led by Odysseus and
Agamemnon – to come up with a strategy for defeating the Trojans. With his companions already
prisoners of the opposing side, the Doctor draws his inspiration from the legend of a certain
wooden horse…
Presented across two 140g vinyl Trojan Sunset splatter discs, this 1965 TV soundtrack – no
episodes of which survive as film recordings - is narrated by Peter Purves, who co-stars as the
Doctor’s companion Steven, with Maureen O’Brien making her final appearance as Vicki. The
guest cast includes Max Adrian as King Priam, Barrie Ingham as Paris, Frances White as Cassandra
and Ivor Salter as Odysseus. Incidental music is by Humphrey Searle, and the familiar strains of
the Doctor Who theme are courtesy of the BBC Radiophonic Workshop.
The coloured LPs are presented in a gatefold sleeve with fully illustrated inner sleeves. Original
episode billings, and full cast and credits, are included.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

An Aural & Visual Cinematic Live Experience
“Everything from the stage to the sound to the visuals were killer... a
beautiful two-hour venture. TesseracT should be very proud of themselves
for delivering such an immense quality of work for their fans during these
unfortunate times” - Metal Insider
Following on from 2018’s critically acclaimed studio album, Sonder, the band,
in the midst of a global pandemic decided to come together to present P O R T
A L S - a cinematic live experience like no other. The band took livestreams to a
new level by interspersing a conceptual storyline with their live performances
that featured a colossal and highly spectacular arena-style light show.
TesseracT are a band that sit outside the bounds of any genre specificity, pioneers of the ever-evolving rock and metal scene, with an unstoppable force of
off-kilter riffs, soaring melodies and disorientating atmospherics.
They put all of this into the December 2020 event that featured the band
performing songs spanning their entire catalogue. Highlights included “Nocturne” off their 2010 debut EP, Concealing Fate and continued with “Eden”
(One, 2011), “Of Matter” (Altered State, 2013), “Tourniquet” (Polaris, 2015),
and “King” (Sonder, 2018), with the whole performance capturing 14 songs
over 2+ hours.
Bass player Amos Williams explains more about the event and the concept
behind it: “P O R T A L S is a celebration of our love of performing. Each act is a
still from an ever-evolving musical personality. Each song is the conversations
you have with old friends when you meet up for the first time in ages and you
pick up exactly where you left off.”
Along with the release of the livestream event, the band will be playing their
first live shows in almost two years this November and December supporting
Trivium in the UK and Europe, as well as returning to North American shores
in 2022.
“The quality of the audio and visuals provide testament to TesseracT’s statement that the performance represents their biggest production to date” - Prog
/ Louder Sound

Claude Huey was a we coast soul singer who after leaving the army sang with Jesse “Ozz” Osborne & The Sperlings. As a solo artist he recorded a number of sides in the late 60s including the highly acclaimed and sought after “Why Would You Blow It”.
It was produced by “Ozz” who became a chief engineer at Fantasy Records and went on to work with Lenny Williams, The Debonaires, Freddie Hubbard and an array of soul and jazz artists.
“Why Would You Blow It” became popular on the UK’s Northern Soul Scene, originals of this record becoming rare and expensive to purchase.

Birgit Minichmayr captures the imagination and holds centre-stage on
‘As An Unperfect Actor: Nine Sonnets by William Shakespeare’. This
won’t come as a surprise to people in the German-speaking world,
where the Austrian actor is well-known from countless appearances on
TV and a substantial filmography. Perhaps equally unsurprising is the
deep experience she can bring to Shakespeare: as an ensemble
member of the Burgtheater company in Vienna, she has repeatedly lived
out the searingly dramatic lives of the Bard’s characters, notably the
daemonic anger of Lady Macbeth, the sadness of Ophelia and even the
uncomfortable truths of the Fool in King Lear.
What might be more of a surprise, however, is the exhilarating musicality
she shows on this, her first complete album as a vocalist. One could
have predicted the crystal clarity, meaning and intent in her words - the
desolation in her voice in “the very birds are mute... the leaves look pale”
in Sonnet 97, for example. And yet there is more, much more, not least
Minichmayr’s uncannily instinct to find artful and felicitous ways to shape
musical phrases.
Composer/ pianist Bernd Lhotzky has provided a wonderful array of
musical contexts. As Minichmayr says: “He got so deep into the meaning
of each sonnet, his music made it different every time. And we talked a
lot about the colour, the meaning of each poem.” The opening track, ‘My
Mistress’ Eyes (Sonnet 130)’ is a masterfully deft piece of gender-fluid
irony. In the poem, a man is describing possibly the ugliest woman he
has ever seen - while also declaring that she is the one he loves.
Lhotzky gives us an acerbic version in that most male-led of dances, the
tango, complete with bandoneon, in which the words are sung by... a
woman. Minichmayr then gives a masterclass in how to end a song as
she hits, holds and nails the words “false compare” with triumphant
fearlessness.
Throughout the course of the album, we are magically transported to
new musical and emotional places. As Minichmayr says: “Through
singing, through just doing it, I was able to find deep love, or deep
sadness. I was really touched by it.”
One of the secrets to this album’s success is Lhotzky’s wish to find
melodies which have a certain ease and straightforwardness about
them. He says that he approaches all music - whether he is listening to it
or writing it - with one simple and direct question: “What story is this
telling me?” Lhotzky is known for his work in the field of early jazz, but
the range here is far broader, with allusions to such examples of fine
songwriting as Brassens, Robert Plant and James Taylor.
LP pressed on 140g black vinyl.

This is the first official re-release on vinyl under licensed courtesy of BMG Rights Management,UK, remastered from an original master copy out of the vaults of BMG, originally released in 1972 on Bronze Records.

Co-founder of Colosseum in 1968 with Jon Hiseman, he knew from his Jazz Club years as drummer for Georgie Fame, Dick ran through this group's hectic recording and touring schedule for over 3 years until November 1971, when it disbanded.

In his late 30s at that time, on top of his musical shape, he moved on to start recording on his first solo project, with material left over from Colosseum days (written by D. H.-S., Clem Clempson and Jon Hisemann) and new material jointly composed with well-known lyricist Pete Brown. He recruited the help of Colosseum mates, Hiseman, keyboardist Dave Greenslade and vocalist/bass player Mark Clarke, plus the brilliant ex-Elton John group Caleb Quaye (Hookfoot) on guitars and Rob Tait (ARC, Battered Ornaments) on drums; old pal G. Bond is featured providing remarkable moog work on 'Pirate's Dream', funky organ on 'Moses In The Bullrushourses' and sharing piano duties with Gordon Beck (G.B. Trio, Nucleus) on 'What The Morning Was After'; Paul Williams (Juicy Lucy) gets the lion share of vocal duties, and Chris Farlowe and Chris Spedding (Nucleus, Battered Ornaments) have respectively a sole vocal and a guitar spot on 'Pirate's Dream'.

The album track by track:
Side one starts with 'Future Song', the track that really rises above the other tracks here. The guitar, vocals (by Mark Carke) and sax are great on this one. Killer sax 2 minutes during an excellent instrumental interlude. H.-S. sounds slightly eastern-influenced on his outstanding sax lines. Such an uplifting track with it's repetitive riff and hard, driving sound! Next is 'Crabs', starting off in a mellow way with Greenslade's piano and reserved vocals as the sax joins in followed by guitar and drums as it builds. Irresistable! Great vocals by Paul Williams. One could easily imagine both tracks on a Colosseum album. 'Moses In The Bullrushourses' is uptempo, owing just as much to jazz, blues and hard rock. Great groove! Lots of organ here to send shivers down your spine and perfect guitar playing. 'What The Morning Was After' opens with some sax excursions as the drums help out. Acoustic guitar by Quaye and powerful vocals by Paul Williams take over as the piano joins in. Our second favourite tune on here after the opener. A folky song really until it picks up half-way through.

Side 2 opens with the 11 minutes 'Pirate's Dream', with Farlowe on vocals and Spedding's initial rock blues riff, but soon evolving to a complex multi parted composition in the best spirit of Valentyne Suite, driven by Hiseman multi faceted drumming. D. H.-S. twin saxes soar on a calmer mid section with Spedding doubling the licks and the bass grumbling relentlessly behind; it slowly gains speed with moog, sax and vocalizations duelling and answering each others with dazzling, demanding and inspired phrasings on top a thundering rhythm section; after the lyrics resume it evolves into a majestic, grandiose finale. A bluesy clean guitar lick opens 'Same Old Thing', a swinging, calm heavily modulated twisted blues, with a punchy rhythm section, a soulful Williams on vocal, Quaye delivering an inspired sparkling solo and D. H.-S.'s sensitive fat sax enhanced with some double tracking on the solo part. A great ending to a great album.

Album comes with the reproduction of original gatefold cover sleeve, additional cover-sized insert with band story, lyrics and photos. A highlight! Highly recommended!

Ubiquity Records presents a limited repressing of "Awakeining" by the legendary Pharaohs which is highly sought after and has been out of print for several years. Awakening was originally released in 1971 and re-issued by Luv n’Haight in 1996 and quickly became a must-have for collectors of spiritual, deep, Afro-centric Jazz. "The legend of The Pharaohs starts at Crane Junior College on the West side of Chicago. Under the tutelage of James Mack a student band is formed- The Jazzmen- which in 1962 wins the best band category at Chicago's annual Harvest Moon Festival which translated into the early members finding success at Chess Records as studio musicians. After a while these musicians moved over to the South Side to the fledgling Affro Arts Theater where they joined the Artistic Heritage Ensemble, under the leadership of Phil Cohran and where they eventually merged after Cohran left to teach at Malcolm X Junior College. It was this version of the band: Louis Satterfield, Charles Handy, “Big” Willie Woods (Trombone), Oye Bisi (African drums), Shango Njoko Adefumi (African Drums), Black Herman Waterford (Quinto drum, alto sax), Don Myrick (saxes), Yehudah Ben Israel (guitar, vocals), Alious Watkins (trap drums, tuba), Derf Reklaw Raheem (percussion, flute), Aaron Dodd (Tuba); that in 197I recorded “The Awakening”. By 1972 when “In The Basement” was recorded the unit had expanded to include Derrick Morris (trap drums), Warren Bingham (guitar), Rahm Lee (trumpet) and Sue Conway (Vocal).

Standing in the Doorway: Chrissie Hynde sings Bob Dylan.
The songs were recorded in lockdown by Chrissie and her Pretenders bandmate James Walbourne, almost entirely by text message. James would record an initial idea on his phone and send it off to Chrissie to add her vocal, before the tracks were mixed by Tchad Blake (U2, Arctic Monkeys, Fiona Apple). The nine-track album will be released via BMG on 21st May.
Speaking about how the album came together and its inspiration, Chrissie says:
‘A few weeks into lockdown last year, James sent me the new Dylan track Murder Most Foul. Listening to that song completely changed everything for me. I was lifted out of this morose mood that I’d been in.
I remember where I was sitting the day that Kennedy was shot - every reference in the song. Whatever Bob does, he still manages somewhere in there to make you laugh because as much as anything, he’s a comedian. He’s always funny and always has something to say. That’s when I called James and said, ‘let’s do some Dylan covers’ and that’s what started this whole thing.’
Standing in the Doorway: Chrissie Hynde sings Bob Dylan includes Chrissie and James’ versions of In the Summertime, You’re a Big Girl Now, Standing in the Doorway, Don’t Fall Apart on Me Tonight and Tomorrow is a Long Time.

South London genre-blending story tellers Alabama 3 are set to further add to their rich musical heritage with a new single ‘Whacked’, available April 30th via Submarine Cat Records, with an album to follow later in August.

‘Whacked’ is the first taste of fresh Alabama 3 material since the tragic passing of their beloved and unconventional frontman and songwriter Jake Black, aka The Very Reverend D. Wayne Love, in May of 2019. Jake had Addison’s disease and passed away several days after falling ill during a show at the Highest Point Festival in Lancashire at only 59 years old.

Then, with the Covid-19 pandemic and lockdown upon the world, the band got creative and submerged themselves in their music, teaming up with producer Cam Blackwood (George Ezra, Jack Savoretti, Tom Walker, Frank Carter and the Rattlesnakes…) to focus

Concentric Records presents Radiant, the third compilation of its introductory release trilogy. Featuring music by ASWA, HOLOVR, Max Loderbauer, Petre Inspirescu, Supply, The Waves, William Selman, the album evokes luminous, iridescent and ethereal sonic spaces - a journey that overcomes struggles, spinning upward towards the light.

The album opens with calm, bright and assertive tonalities, evoking mental spaces prone to exploration and wondering. Molecular textures and real-world sounds bring us closer to an intimate and physical sphere, a voice. Ultimately everything dissolves into a synthetic domain of acid-like washes, in a cinematic sense of departure.

MAX LODERBAUER has been an active engineer, producer, and musician across four decades. He first came to notice in the late ‘80s as a member of Fischerman’s Friend. Known then as Daimler Max, Loderbauer’s associates included Stephan Fischer and Tom Thiel, as well as producer Thomas Fehlmann. Once the group went dormant, Loderbauer and Thiel established Sun Electric; one of the leading sources of entrancing downtempo and ambient techno through the ‘90s. During the 2000s and 2010s, Loderbauer collaborated in numerous settings, including NSI with Tobias Freund, Chica & the Folder with Paula Schopf, and Moritz von Oswald Trio with Vladislav Delay and Moritz von Oswald. Loderbauer was partly responsible for some of the most progressive and experimental electronic music released during these years. In 2011, he and contemporary Ricardo Villalobos assembled Re: ECM, a project that involved radical transformations of ECM label recordings by the likes of Bennie Maupin, Christian Wallumrød, John Abercrombie, and Arvo Pärt. More recently he consolidated the collaboration with Ricardo Villalobos via the Vilod project, and with Samuel Rohrer and Claudio Puntin as Ambiq - both described as ‘a fertile patch of inspiration, shaking up the principles of minimal techno with the loose, expressive qualities of jazz’. The album opening track - ‘Harmonic’ - feels like a glowing dream. Composed of stunning electronics in a polychromatic, blinding and shimmering light; harmonious interwoven melodies calmly wind down invoking a serene mental state and grounding peace.

WILLIAM SELMAN was the very first artist ever approached by Concentric Records prior to the label’s birth, back in 2018, following his defining release ‘Musica Enterrada’. A musician and multimedia artist currently based in Portland, Oregon, his work employs analogue and digital synthesis techniques, live percussion and instrumentation, and his own rich field recordings to create compositions and sound art focused on the ideas of place and environment. Selman's recent works have been released on Mysteries of the Deep and Hausu Mountain.

PETRE INSPIRESCU is an extremely versatile composer. As co-founder of the legendary RPR Soundsystem together with Rhadoo and Raresh, he mostly produced club-ready, heavily textured takes on tech-house and minimal techno. In 2015 he released his first album on Mule Musiq, considered a significant departure from his previous work, scoring piano, strings and woodwind instruments for the first time, resulting in a set that sat somewhere between ambient and neo-classical. Since then, he continued to explore further sonic territories, adding in vintage synthesizers and occasional nods to dub techno, resulting in melodious sequences of musical movements that relate to the work of classical composers, American minimalists and ambient legends. ‘The Garden’ is a dreamy, intimate and nature inspired composition, recorded in his home studio in Ibiza sometime in the Summer.

DJ and producer SUPPLY (youngest so far on the label) was born and raised in Gießen, within sight of the skyscrapers of Frankfurt am Main, and has been living in Berlin since 2017. Musically socialised through hip hop, he found his connection to electronic music produced in Chicago and Detroit in the 90s by moving to FFM in 2013. For almost 6 years he has hosted his own events in his hometown. His productions connect the dots between hip hop, retro futuristic movie soundtracks and techno, he recently released on YAY Recordings. ‘Inhale / Exhale’ was created during a time of stress and mental tension, partly self-inflicted, partly result of my surroundings, as it turned out in retrospect. The track tries to capture a moment of taking a deep breath by releasing that tension for a moment. I came up with the first sketch one night around 4am, the final arrangement found its way onto a C60 Chromoxid Cassette - inhale - exhale.’ - Supply

THE WAVES is a post-punk and synthwave-inspired project led by Maayan Nidam, that places her vocals at its front and centre. As a musician obsessed with sound and the technology behind its creation, her workflow places a strong focus on the studio environment. Triggering chain reactions between guitar pedals, drum machines, modular synths and acoustic instruments, generating sounds in unpredictable ways. Drum machines keep a steady groove as to give support to an array of guitars and synthesisers, all topped with The Waves own, mostly unmasked, lyrics and voice. ‘Hold On’ was written by Maayan during the 2020 pandemic as she dived deeply in studio work in Berlin. Her lyrics are featured as part of the art print insert, and have became a central statement to the LP and its narrative - the power to hold on and break through.

Jimmy Billingham's HOLOVR project has racked up various releases on some of the most forward-thinking electronic music labels over the past few years, including Firecracker Recordings, Likemind, Further Records, Opal Tapes and his own Indole Records. Though best known for melodic, drifting acid techno and electronica, he's equally at home crafting textured ambient soundscapes. HOLOVR's deeply emotional synth passages and pads will take you on a journey into the outer. 'Melancholy of Time came out of a period exploring ways of producing and recording outside of the grid-based structures that I was previously working with. I wanted to strip it back to what I often find to be the emotional core of a piece of electronic music - ebbing and flowing synth pads - but to push and pull it a bit to create a slight disjointedness, unpredictability and shop-worn texture, as if it's coming apart and fraying, yet retaining a sonic clarity. I recorded it live using looped and layered synth phrases, underpinned by a layer of hiss and pin-prick textures. I find reflections on time and its passing to be a recurrent feature of my work, both in a more straightforward way of harking back to music of a certain period or pieces of equipment but also in a more abstract sense of creating a feeling where time doesn't matter - a deep feeling of now; that escape that you find in music and other ecstatic experiences. Though of course we’re always in - and running out of - time, and hence the melancholy.’ - Jimmy Billingham

Hailing from the German underground scene, ASWA aka Attila Fidan has an intricate, hypnotic style of electro, techno and ambient. Coming from visual arts and not primarily a trained musician, Attila produces under various and multiple monikers: ‘I never really start out knowing which moniker the track will be made under’. Since 2017 he runs a boutique Berlin label named ‘Tape Archive’. ‘Dust Palace’ is a synthetic piece that resonates with a cinematic vastness, closing the LP in an uplifting tone that evokes new departures and new beginnings.

The United States vs. Billie Holiday, in which Andra makes her feature-acting debut staring as Billie Holiday, will shed light on the innovative vocalist's embattled years as a target of the Federal Bureau of Narcotics--the unit sought to imprison Holiday on drug charges, a retaliatory action given her dedication to singing highly politicized songs like "Strange Fruit" and her efforts to integrate her audiences. In the upcoming film, directed by Lee Daniels and written by Suzan-Lori Parks, Andra stars alongside Moonlight lead, Trevante Rhodes.

Andra's iteration of the jazz-infused recording adheres to the cool, sultry stylings of Holiday's original. By stepping into her predecessor's persona, Andra brings the past to the present, adopting a vocal approach and musical sensibility that's nothing short of a classic.

The legendary Billie Holiday, one of the greatest jazz musicians of all time, spent much of her career being adored by fans across the globe. Beginning in the 1940's in New York City, the federal government targeted Holiday in a growing effort to escalate and racialize the war on drugs, ultimately aiming to stop her from singing her controversial and heart-wrenching ballad, "Strange Fruit."

Led by Oscar® nominated director Lee Daniels and introducing Grammy® nominated singer-songwriter Andra Day, The United States vs. Billie Holiday unapologetically presents the icon's complicated, irrepressible life. Screenplay writer Suzan-Lori Parks, the first African American woman to win a Pulitzer Prize for Drama, pens this intimate tale of a fierce trailblazer whose defiance through music helped usher in the civil rights movement. NAACP Image Award® Nominee Trevante Rhodes and Emmy® Nominee Natasha Lyonne co-star along with Garrett Hedlund, Miss Lawrence, Rob Morgan, Da'Vine Joy Randolph, Evan Ross, Tyler James Williams, Tone Bell, and Erik LaRay Harvey.

Para One, whose real name is Jean-Baptiste de Laubier, releases " Shin Sekai ", the new extract from the upcoming SPECTRE: Machines of Loving Grace. The " Shin Sekai " video is directed by William Laboury, who created a visual tryptic around Para One's SPECTRE: Machines of Loving Grace.
Resonating percussions by Wadaiko Hama and Le Mystère des Voix Bulgares ethereal voices frame Para One's ever evolving electronic music, drawing a new frontier in the artist's musical landscape, bringing together his experience as a film composer and his career as a dj and performer.
The original track comes with 3 remixes: British producer Actress (Ninja Tune) uses Arthur Simonini's strings as the backbone to his emotional climb, German musician Alva Noto (Noton) gives a minimalist stripped down version of the score, while speakwave, the new moniker of French artist dynaRec, proposes a total remake of the melody, the harmonies, and the rhythmic structure of Shin Sekai.

Electrifying Rockshow meets bluesy film noir-mood!
Daniel Welbat sings as if he had hung out in the darkest bars for years.
With his five-man band, the extroverted frontman brings a brilliant 8222;Rock Noir”-sound to the stage that thrills both the audience and the press. Most of the songs were recorded in october 2019 by the NDR at the Hamburger Nochtspeicher. Shortly after that the concert was awarded by the OXMOX-Leserumfrage and chosen for the TOP 10 BEST CONCERTS in 2019 (next to P!nk, Robbie Williams und Udo Lindenberg) NDR and DLF are Radio Presenters. Print Presenters: MusiX, SCHALL, eclipsed, ROCKS, Good Times OXMOX-Leserumfrage picked the concert (next to P!nk, Robbie Williams und Udo Lindenberg) for the Top 10 best concerts in 2019.
WellBad is a “Live Band” and the people are craving for LIVE MUSIC!

After the very successfull "JIMMY WIDENER" first issue on the label dedicated to Hillbilly musice: "RED BARN Record", We had dig a little more into our personnal shellac collection to offer you the complete BULLET sessions, 1950-52 of this obscure but very talentful "proto" rockabilly band. Two year before Elvis recordings at SUN, you already feel the wind of musical change' a coming!

Fifth -and last- volume of our "R&B Hipshakers" series, featuring rockin' R&B and early soul from the King and Federal catalogues. A compilation of tracks from 1953 to 1964 by essential artists such as Hank Ballard, The 5 Royales, Little Esther, Little Willie John, Lula Reed, Albert King… that, after 5 juicy volumes (do you have them all?), reach the magic number of 100 delights from King and Federal's incredible output.
20 terrific dance cuts selected by genre expert Mr Fine Wine, from WFMU's Downtown Soulville. Most of the tracks have never been reissued before. *This volume includes a previously unreleased version of Lulu Reed's 'Your Love Keeps A-Working on Me' on a bonus single that will be solely available as part of this 2LP + bonus 7" pack.

Release Me 2 is a new collection of ten previously unreleased studio performances from the legendary Barbra Streisand, spanning 1962 to 2014. The album showcases exquisite songs and sublime studio performances recorded over the course of Barbra's astounding career, but shelved for various reasons. In her notes for the album, Barbra says, "For me, the studio is a combination musical playground and laboratory…a private sanctuary, where the possibility of catching lightning in a bottle always exists. Whenever that kind of magic happens, it's extremely satisfying. Sometimes though, when the arrangement doesn't quite gel or the song no longer fits the tone of the album it was meant for, the tapes go into the vault for safekeeping. Working on this 2nd volume of Release Me has been a lovely walk down memory lane…a chance to revisit, and in some cases, add a finishing instrumental touch to songs that still resonate for me in meaningful ways.

Release Me 2 features songs penned by celebrated writers and tunesmiths including Burt Bacharach and Hal David, Barry Gibb, Randy Newman, Michel Legrand/Alan Bergman/Marilyn Bergman, Harold Arlen and "Yip" Harburg, Carole King, Steve Dorff, Paul Williams/Kenny Ascher, and Walter Afanasieff/John Bettis.

Widely recognized as an icon in multiple entertainment fields, Barbra Streisand has attained unprecedented achievements as a recording artist, actor, director, producer, screenwriter, author, songwriter and concert performer. Streisand has been awarded two Oscars, five Emmys, ten Grammys including the Legend Award and the Lifetime Achievement Award, a Tony Award, eleven Golden Globes including the Cecil B. DeMille Award, three Peabodys, and the Director's Guild Award for her concert special -- the only artist to receive honours in all of those areas.

The Surprise Package recorded the album "Free Up" with Lee Hazlewood, featuring heavy fuzz guitar, rock organ, keyboard bass (like The Doors) and a fifteen-minute title track. Despite touring with the Beach Boys or Led Zeppelin, success did not knock their door_ Munster Records is proud to present the second installment of the Lee Hazlewood Industries (LHI) Records Reissues Series with the first ever reissue of The Surprise Package, "Free Up". Born out of the fertile 1960s music scene of the Pacific Northwest, The Surprise Package was comprised of members from The Viceroys and The Galaxies. These two bands were regulars at regional teen fairs and often played alongside The Sonics and The Wailers. After a record deal with Columbia Records and Terry Melcher fell through, the group found themselves in the waiting room of LHI headquarters for an audition with Lee Hazlewood. Lee liked what he heard and the band was signed. In the late 1960s, Lee went on a creative tangent into the world of psychedelia, releasing far-out tracks from Ann-Margret, The Aggregation, Hamilton Streetcar and many others. The Surprise Package recorded the album "Free Up" with Lee, featuring heavy fuzz guitar, rock organ, keyboard bass (like The Doors) and a fifteen-minute title track. Though Lee was always willing to experiment in the studio and explore many different genres, psychedelia wasn't totally his bag. He spent a lot of the sessions in the control room drinking scotch. "I can give you a quote from Merle Haggard," joked Surprise Package singer Rob Lowery. "He was sitting in on one of our sessions once and he said 'You know, I don't understand this rock 'n' roll bullshit!' I don't think Lee understood it either, but he liked it and he was behind us." A stadium show with Led Zeppelin, extensive touring with the Beach Boys and other national acts failed to bring success. The band parted ways with Lee and LHI, changed their name to American Eagle and put one final record out on Decca. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the reissue is complimented by a new Q&A interview with Surprise Package member Rob Lowery and GRAMMYr-nominated reissue producer Hunter Lea.

* Pressed on special RSD color wax.
* Includes bonus limited edition flexi of an ultra rare recording performed by Roky Erickson.
* Pressed at RTI.

Texan Roky Erickson was one of the true mind-blowing pioneers of psychedelic music. The original leader of the Austin-based 13th Floor Elevators formed in 1965, Erickson and band invented a brand new style or rock & roll, one that was slightly unhinged while it explored the consciousness-expanding influence of LSD on music. After three years, the group imploded with mental issues and legal challenges, ending with Erickson being incarcerated for several years in the Hospital for the Criminally Insane in Rusk, Texas. When he was released in the early '70s the musician continued on his own trail, recording songs that had come to him in his far-flung cerebral wanderings. Erickson, who passed away May 31, 2019, is now celebrated on this 12-track tribute to one of the most original rockers ever.

The participants range the whole world of modern music, and each chose one of Erickson's originals to stamp their own imprint on. They include Billy F Gibbons, Lucinda Williams, Mosshart Sexton (a/k/a Alison Mosshart & Charlie Sexton), Neko Case, Mark Lanegan & Lynn Castle, Jeff Tweedy, Margo Price, Gary Clark Jr & Eve Monsees, Ty Segal, Chelsea Wolfe, The Black Angels and Brogan Bentley. The album is co-produced for release by Bill Bentley, executive producer of the 1990 Roky Erickson tribute album Where The Pyramid Meets The Eye on Sire Records, and Matt Sullivan, co-founder/owner of Light in the Attic Records.

The songs range from Erickson's debut iconic original, "You're Gonna Miss Me," recorded when he was a member first in The Spades and then the 13th Floor Elevators during the early '60s in Austin, to some of Erickson's later songs, like "If You Have Ghosts," which heard him exploring some of the outer limits of the human psyche. Each new recording is a stunning modern take on the sound that Roky Erickson gave the world over a half-century of writing, recording and touring. No one has ever equaled those explorations.

This truly is the music of the spheres, as Erickson once sang about his sound, as seen through the eyes and ears of those who are united in their love and respect for a person who dedicated his life to rock & roll. Roky Erickson, through the trials and tribulations of a man both imbued with greatness and haunted by darkness, never quit in his quest to share with others what he heard and saw. As he sang on the 13th Floor Elevators last recording, "May the circle remain unbroken."

Celebrating 10 years since his first album, Tom Williams releases his most
eclectic project to date. ‘Follow The Leader’ represents a departure from
his previous output, and is comprised of a collection of songs which
comment on pre- and post-lockdown life, providing beautifully crafted
snapshots of modern Britain.
Having released six studio albums to date, Tom Williams has built a passionate
fanbase of discerning music lovers since his first album, Tom Williams & The
Boat’s ‘Too Slow’ ten years ago.
His 2017 album ‘All Change’ was voted by BBC 6 Music Recommends as one of
their Top Ten Albums Of The Year, and his last album 2019’s ‘What Did You Want
To Be?’ which was produced by Tim Rice-Oxley, was described by The Guardian
as “surging, vintage pop-rock” and championed extensively by Jo Whiley at BBC
Radio 2, Steve Lamacq and Lauren Laverne at BBC 6 Music, Huw Stephens at
Radio 1, Q Magazine and Clash. ‘Follow The Leader’ signifies a departure from
Williams’ previous output.
Self-produced, the album boasts rich orchestral sounds and full band performances, mixed with claustrophobic drum machines, synthesizers and deep sub
bass sounds.

Lunar Tredd – Fimber Bravo’s first album on Moshi Moshi since the much acclaimed Con-Fusion – tells the tale. The highlife fusion of You Can’t Control Me resonates in the wake of the global Black Lives Matters protests. There is fire in these impactful clarion calls to resist oppression, recognise strength in resilience and fight against the corruption of power.

Bravo’s been a constant collaborative force - as his time as leader of 20th Century Steel Band, as musical director of Steel ‘n’ Skin, and appearances with everyone from Sun Ra Arkestra to Hot Chip, shows. Lunar Tredd reflects the influence of the music handed down to him by “ancestors” . Helped by an enviable cast of friends and collaborators, Fimber has shifted those touchstones to create something that sounds resolutely like the here and now.

Those friends that appear on Lunar Tredd, include Alexis Taylor of Hot Chip and The Horrors’ Tom Furse; The Invisible drummer Leo Taylor and Senegalese percussionist, Mamadou Sarr dropping in on rhythm duties, while there are also appearances from Susumu Mukai aka Zongamin, the brilliant Kora player Kadialy Kouyate, vocalist Cottie Williams, Vanishing Twin’s Catherine Lucas, and production from Lapo Frost and Ghostpoet producer Shuta Shinoda. Some, like Zongamin and Williams go way back with Fimber, other connections are newer, but all have quickly become part of the London-based musician’s musical family.

Indeed, Fimber never loses sight of where he’s come from on LUNAR TREDD - even as he looks to where he might go next. As a musician, he’s still finding new creative peaks nearly 50 years after he began.

"The definition of a hidden gem" - John Peel / "The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life." - Max Richter / "She might just be the coolest woman on the planet!" - Boy George "When I Hit You - You'll Feel It" is a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. The collection spans Winer's three-decade-long musical career: from her groundbreaking solo work in the early '90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave's Karl Bonnie, and others, the collection also spotlights Winer's diverse collaborations, unearths previously-unreleased recordings and was newly remastered by the GRAMMYr-nominated engineer John Baldwin. The album includes a new interview with Winer, captured by the compilation's co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon. Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things. She grew up in Boston with a voracious appetite for music and the written word and embraced the city's lively jazz and folk scene in the '70s. Moving to New York for art school, she formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery's underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George. Winer's striking looks also attracted fashion designers and photographers. Throughout the early '80s, she was an in-demand model-appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer "the first androgynous model." She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle. But music was Winer's true passion and, at the turn of the '90s, she would unknowingly help invent the massively popular genre known today as trip-hop. On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing - and coolly-detached - spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways. While Witch was finished in 1990, it wouldn't be released for three years, due to the whims of Winer's label. By the time the album saw the light of day (released under the pseudonym "c"), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of "The Grandmother of Trip-Hop"), Witch initially went sorely unnoticed. Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O'Connor, who would cover her songs. In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.

Another Time, Another Place was Bryan Ferry’s second studio album as a solo artist. The album reached #4 in the UK charts in 1974. Essentially a cover album, with the exception of the last song, which gave its title to the album and was written by Ferry. While These Foolish Things emphasized an early-’60s girl-group repertoire, Another Time, Another Place turned to soul music (Sam Cooke, Ike & Tina Turner) and country music (Kris Kristofferson, Willie Nelson, Joe South). “The album as a whole feels a touch more formal than its predecessor, but Ferry and company, plus various brass and string sections, turn on the showiness enough to make it all fun. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “Another Time, Another Place” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

Music in Exile is excited to announce a new 12” maxi-single release from the “King of Music”, GORDON KOANG. Titled Coronavirus / Disco, this double-A-side release share’s Gordon’s messages of peace, love and positivity, and is his first original offering since his acclaimed Unity album was released in late 2020.

The first single, Coronavirus, was penned by Koang in July 2020 as a response to his personal experiences of the global pandemic. As his hometown of Melbourne went into lockdown, Gordon resided in the outer suburbs of Melbourne with his cousin, Paul, and his four-stringed, guitar-like instrument, the thom. Throughout this single, Gordon offers his condolences to those affected by the pandemic, alongside messages of his faith in frontline workers and the hope that circumstances will improve soon. “People suffer a lot. I ask that God gives the doctors the big wisdom to defeat the coronavirus. When people hear my song, I hope that this music counsels them. The song has a lot of meaning, it is telling them to be hopeful.”

With the cancellation of a national tour and numerous festival appearances, Covid-19 had not only impacted Gordon’s career here in Australia but also his opportunity to visit family he hadn’t seen in five years. After receiving Australian permanent residency, Gordon and Paul were now able to visit family in Uganda, however this was made incredibly difficult due to border closures and the potential health risks. Taking a last minute opportunity, Gordon and Paul travelled to Africa and whilst excited to visit their families, they also experienced the impact of the pandemic on their home communities. “In Africa, it is not like us here, there is no medicine and in Africa there is also no Centrelink if you are in lockdown. It is difficult getting services. Even getting food is difficult.”

After two weeks in hotel quarantine, Gordon and Paul returned to Melbourne, eager to record music once more. With lockdown lifting, Gordon headed to the studio with a new band featuring Zak Olsen (ORB, Traffik Island) Jack Kong (Baked Beans, Traffik Island), David “Daff” Gravolin (ORB), and Jesse Williams (Leah Senior, Girlatones). This new release is the result of these studio sessions, jamming and recording at Button Pusher in Preston, Melbourne.

For the DJ’s out there, both tracks will feature on a limited edition, 12” maxi single vinyl complete with pull-out poster from Gordon, encouraging listeners to stay positive during this difficult time.

“My condolences to you, my audience in lockdown. We are all suffering from coronavirus. Let us stand firm and be strong. Let us look after each other, until the time comes when God brings us together. I give my condolences to people who have died of coronavirus, in aged care and disability. We are heartbroken for everyone. Let us take it easy, and pray in our houses, all around the world. If you believe in God, pray to the God you believe in, and they will help you. God will give us the chance to go back to normal and open all events. Even if it is a bad time now, there will be a change and it will be a good time for us. Thank you to everyone.” - Gordon Koang