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The Second Prince Alla 7" Vinyl Record from the Ghetto Cornerstone Label!

A true honour to bring another Roots & Culture Tune into the world with the Legendary Prince Alla; Tuff 80's Style Roots Riddim with Militant Vocals!
Rastafari

Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”

The first release from the remastered catalogue campaign on Melanie’s own revitalised Neighbourhood Records label (via UKs Easy Action) features the song recently used on the cult TV show Black Mirror, backed with an unreleased version of the 60s hit ‘Bo Bo’s Party’. This year Shindig Magazine did a 3-page feature on Melanie as more and more people start to ask who is she? The 7” is limited to 350 coloured vinyl copies and comes in a spined picture sleeve. Melanie landed in the New York City music and radio scene in the late 1960’s. Her first single Beautiful People immediately became a turntable hit. Her first tour began with an impressive 40-day run of shows at Paris’ world-famous L’Olympia Theater at the personal invitation of Bruno Coquatrix. In the years to come she would entertain millions: at An Aquarian Exposition (the 1969 Woodstock Music Festival), at Carnegie Hall, and the Isle of Wight and Glastonbury music festivals, The Sydney Opera House, the South Korean DMZ, the Theatre Royal Drury Lane, the Royal Albert Hall, and other Venues around the globe. Melanie launched Neighborhood Records, making her the first American woman to open a mainstream record label. She recorded over 20 chart hits. Melanie received an Emmy after composing lyrics for the theme song of the hit television series Beauty and the Beast. “What Have They Done to My Song Ma” was re-recorded by Ray Charles with the Count Basie Band. Nina Simone delivered a remarkable rendition, as well. “(Lay Down) Candles in the Rain” was re-recorded by Mott the Hoople on their 1971 album Wildlife. Meredith Brooks and Queen Latifah later re-recorded the anthem. “Some Say (I Got Devil)" was re-recorded by Smith’s frontman Morrissey. Melanie has always known her calling in life was to entertain. Audiences have welcomed her to the stage for more than fifty years, and she continues to perform today.

On 6th October, multi BRIT-nominated DJ/producer Joel Corry releases his debut album, ‘Another Friday Night’ via Asylum / Atlantic Records, with the pre-order going live on the 18th August.

To be released on both vinyl & CD, as well as via streaming/download, ‘Another Friday Night’ is a collection of Joel’s most iconic records of the last five years, including breakthrough hit ‘Sorry’, ‘Lonely’, multi-platinum UK #1 single ‘Head & Heart’ ft. MNEK, ‘BED’ w/ RAYE & David Guetta, ‘OUT OUT’ w/ Jax Jones, Charli XCX & Saweetie, plus fresh 2023 cuts like ‘Dance Around It’ with Caity Baser and the anthemic ‘0800 HEAVEN’ with Nathan Dawe & Ella Henderson, ‘Another Friday Night’ toasts a remarkable run of releases that’s seen Joel become one of the UK’s biggest and most impactful dance acts.

“My debut album ‘Another Friday Night’ is the biggest moment of my life”, says Joel Corry. “Everything I have dreamed about and worked so hard for has come together with the release of this record. It has been an incredible journey and I am so proud to have reached this moment in my career. I want the songs to make people feel good and bring happiness to their days, and the album includes everyone’s favourite bangers from over the years, as well as some really exciting new material. This is the ultimate Joel Corry playlist, perfect for Another Friday Night.”

Ahead of the release of ‘Another Friday Night’ on October 6th, Joel has also announced a special headline show at London’s Ministry Of Sound on Friday 29th September – his first London headline date since playing at former 5000-cap venue, Printworks, in autumn 2021.

Fans who pre-order ‘Another Friday Night’ will be granted early pre-sale access to tickets on August 24th, before general sale opens on August 25th

Calm, introspective and minimal music for pondering and reflection. Inspired by
giants like Earth, early Santana and Bohren & der Club of Gore, their single-song,
self-titled debut lifts up its listeners onto divine rays of grandeur into infinity.
Gilded Form is founded by members of internationally acclaimed underground
bands such as Desertion Trio, Dead Neanderthals, Many Arms, MNHM, Plague
Organ, Cryptae and Imperial Cult.
FFO: later period Earth
Nick Millevoi: guitar
Otto Kokke: synthesizer
Rene Aquarius: drums

Premium Box Set, Limited Edition (316 x 316 x 20 mm) = Clear Vinyl 2LP Gatefold, Blu-ray, CD Softpack-Gatefold, exklusives Faltposter 30 x 60 cm
Collapse Into Never - Placebo Live in Europe 2023, aufgenommen @ Low Festival, Spanien
This Is What You Wanted -> Blu-ray mit Full-Length-Konzertfilm, aufgenommen in Mexico City 2023
Live From the White Room -> Live-CD mit "Never Let Me Go" Albumtracks im Softpack-Gatefold, aufgenommen @ Studio 1, Twickenham Studios

The first bunch of remixes for Kito Jempere's Green Monster. The album itself was a versatile journey thought all music styles and patterns you can imagine, remixes are keeping the same direction.

EP opens with a remix from multi-talented and prolific studio genius Ewan Pearson, the man behind hundreds of remixes, production and studio engineering duties for artists like Tracey Thorn, Pet Shop Boys, Depeche Mode, The Chemical Brothers and many many more. And Mr Pearson is taking Kabwato on a journey! Originally recorded as two and half minutes as some say mid-album filler, this boat (kabwato in chewa language) is going deep down the tropical river and through breezy morning rainforest valleys. A perfect trip for your midday staying home alone errands or for your early morning ray of light at the bar with a beautiful panorama.

Same track is getting treatment from the mighty Cable Toy! Unmistakable peak time euphoria manifest - going back to my roots-esque piano meets 90s cable tv dance show house party!

On the flip is the remix by The Dawless. The Dawless are Ramil' Goddeem from LAUD and Sergey Gol'd, producer and owner of GoldxFish Music studio. They recently released their debut album "Broken Aux" on System 108, got remixed by DMX Crew and became residents of LOUD BOYZ label. The project has simple ethics: computers not allowed, only real gear and vibes. The duo has created a true rage rave anthem for Kito Jempere now. Having already been played in a lot of DJ-sets blasting through packed warehouses, now it became available to everyone.

EP closing opus is by Kito's frequent collaborator - UK born and Japan based producer Max Essa. Every Kito's album was accompanied by Max's remixes and this time he's delivering pure beauty again. Creating some Golden-era "8 1/2 weeks" vibes, Max transforms the track into a post-summer voyage anthem.

All the music from the iconic Mr Benn cartoons, available for the only time. Recorded in two sessions - Olympic Studios in 1969, and Gateway Studios in 2004. All the music was written by Duncan Lamont, and featured some iconic session musicians including

Kenny Wheeler, Ray Swinfield and Duncan Lamont himself. Ray Swinfield used the same instruments as he used on The Beatles Penny Lane on these recordings. Mr Benn has an enduring popularity, and was shown on The BBC every year from 1971 - 1999, then on Nick Jnr till 2010. The sessions have ben fully remastered, and sound fabulous! It was due to Nick Jnr that a 14th Mr Benn cartoon was made, and the second session features re-working of some of the original tunes as well as lots of new tunes for Gladiator.

The packaging features an insert with Mr Benn dressed in all his adventure outfits, and a game to match all the souvenirs to each adventure. Not to be missed. A must for everybody that grew up with Mr Benn. All the sleeve notes have been written by The Mr Benn cartoon producer Clive Juster, and are full of insights from the recording sessions.

Texan country blues kingpin Lightnin’ Hopkins was rated one of the top 100 guitarists of all time by Billboard, and was a notable influence on Stevie Ray Vaughan, among others. Recordings for Aladdin and Gold Star cemented his reputation, and after performing at Carnegie Hall with Pete Seeger and Joan Baez, ‘Mojo Hand’ was a breakthrough hit. The superb 1961 LP Lightnin’ (The Blues of Lightnin’ Hopkins) benefits from the understated presence of King Curtis’ drummer, Belton Evans, and jazz bassist Leonard Gaskin, placing Hopkins’ guitar licks and raspy voice at centre stage, playfully relating heartbreak and woe.

For fans of Dead and Company, Digital Tape Machine, and Jazz Improvisation! Chicago native and Guitar prodigy, Marcus Rezak has connected with GRAMMY-award-winner Paul Nelson (Johnny Winter) to produce his next body of work entitled Guitar Head, a blues-oriented album that melds his prestige in the jam, improvisation, and songwriting world with his roots that hail from the “Home of the Blues.” Rezak is joined by fellow stalwarts on today's scene Ray Paczkowski (Trey Anastasio Band), Adrian Tramontano (Twiddle & Kung Fu), and Chris DeAngelis (Kung Fu & The Machine) throughout the album, and Little Feat's saxophonist, Erik Lawrence joins the ensemble for four tracks. Guitar Head comes highly anticipated as Marcus’ best work to date. With a outstanding team in place and properly coordinated merchandise, performances, and promotion. This album will bring Marcus to the top, once again, as one of the nations most prominent guitarists and composers.

A real soul gem from 1970 on the James Brown affiliated Deluxe label, the first and only album by this mysterious singer: Marie Queenie Lyons.
It is perhaps apropos that Queenie Marie Lyons’s best known song is titled ‘See And Don’t See.’ For all the acclaim that song has accrued, and all the times it has been compiled, reissued and, yes, bootlegged — for all the times it has been seen — Queenie herself has somehow remained unseen. How did a singer from Ashtabula, Ohio record one of the great female-led soul albums and then simply fall off the map, never to record or perform again? Queenie was a natural performer and a gifted singer. At the age of fifteen, she was doing three shows a week at a local venue. In early 1962, Queenie moved to Queens and was soon playing gigs across the city — an early engagement was with Gene Krupa at the famous Metropole Café in Times Square — as well as touring with established acts like Fats Domino and Ray Charles. The following year, Queenie made her debut recording, for a subsidiary of RCA called Groove, credited to an entirely fictitious “Shelley Shoop and the Shakers.” It remained Queenie’s only presence on wax until early 1968, when a Nashville-based label called Sims gave her her first accurately attributed single, “A Minute Of His Goodtime / Good Soul Lovin’.” Although the 45 is now a highly collectible part of the Northern Soul and Lowrider Oldies pantheons, it made no impact at the time, as Sims was focused on more typical Nashville sounds. A few months later Queenie was back in New York City, performing R&B and pop covers with her band when a man passed her his business card at a performance. The card read James Brown Enterprises. James Brown “was my idol,” she says, and someone whose business acumen and stage presence she strove to emulate. Although Queenie ended up on tour with James Brown for only a month or so, when the group reached Cincinnati in mid-’68 she entered the King Records studio there to record what would become the
album you hold in your hands. The songs were a combination of covers, some of which she’d been doing in her live shows, like ‘Fever’ and ‘Try Me,’ and originals written by producer Henry Glover and pianist Don Pullen, who was the bandleader on the session. The album opener, ‘See And Don’t See,’ was also recorded by the veteran R&B singer Maxine Brown, but Queenie’s version blows hers away. “Soul Fever” is a supremely funky and soulful affair, with Queenie’s powerful and captivating voice magnetically attractive, with an urgency that is impossible to ignore. ‘Your Thing Ain’t No Good Without My Thing,’ ‘Your Key Don’t Fit It Anymore,’ and ‘I Don’t Want Nobody To Have It But You’ are as funky and soulful as the best of Tina Turner and Aretha — a statement not to be made lightly!
The album was critically acclaimed — the October 10, 1970, issue of Billboard listed it as their sole “four star” pick in the Soul category — but perhaps due to the tumult at Starday-King, whose stewardship had turned over several times in only a few years, it never seemed to be able to break through to a larger audience.

Oscar Peterson’s trio with Ray Brown and Ed Thigpen is widely regarded as Peterson’s “classic trio,” considered by fans as the most popular and in-demand of his long and storied career (featured on releases such as 1963’s Night Train and 1964’s We Get Requests). Recorded during their creative peak in 1964 (5 years into their collaboration), this previously unheard and unreleased live performance is destined to become a fan favorite from the Oscar Peterson vaults. In his memoir Peterson reflects on the dedication that Ray and Ed brought to the group:

"In addition to our trio rehearsals, therefore, Ray would call his own rehearsals in his or Ed’s room and they would simply practice ‘time.’ They created a flexible and multi-faceted rhythmical language that they could apply to any musical statement I might make and enhance any direction I might choose. In short, they practiced ‘all the possibles.’” - Oscar Peterson

Music On Hold's second album raises to its climax an altogether well-cultivated ambiguity between new ambitions and the waiting posture of a band which has never lived up to its name so well. Produced in a cellar in the 7th arrondissement of Paris, supported by Ray Jane and "surrounded by a group of people who manage to concentrate on something for more than 15 minutes", "MOH4Ever" is one of the most personal things that Emile Cartron-Eldin delivers today, "from the salt-dough workshops in kindergarten". Opening, "His Master Voice" transforms the tribute to a recently deceased loved one into a sad clown's dancing homily. With no surprise follows "Wander" and roaming in a Paris traveled up and down at least ten thousand times already. "Music On Hold 4 Ever" then releases the title of this album in a cry accompanied by an invitation to "unplug" his singer. We hear a bit of the group's very first single, "Bread", taken through the prism of Beck's "Up all night". "Citadel", 6'30" end of side A, loudly proclaims as a chain-breaking the nostalgia of truant school and a desire not to die (at least not like Darby Crash). Mixed in - like this entire album - are the versatile ingenuity of LCD Soundsystem and Gorillaz with Italo-disco arrangements from Roberto Zanetti (aka Savage). With "Over", "Home", "Taming a Tiger" and "Last Laugh", side B prolongs the tightrope walker's delirium by summoning in no specific order, memories in Vienna, resumption of excessive consumption, the fact that "the director of the US Federal Reserve is a real fake-ass" and the cynical humo(u)rous swings of a guy overwhelmed by them in an everlasting after-party. From the first LP, "30 Minutes Of..." and its already delayed release, its chopped tour, "Music On Hold 4 Ever" digs a refined pop, no longer as "solar" as some could have described it when everything seemed to be going quickly. Retaining a semblance of immediacy, the 8 pieces of this second album open up new perspectives with their elegant sophistication, in a quite French and truly original touch of DIY and experimentation that the group can pride themselves on. " I'm twenty-nine, and i don't wanna die ".

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Repress!

On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.

This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.

A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.

Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.

This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.

In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.

Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.

Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.

He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.

Produziert von Joe Bonamassa und Josh Smith in den Ocean Way Studios in Nashville, Tennessee, enthält 'The Blues Album' Joannes persönliche Coverversionen von elf seltenen Blues-Klassikern. Dabei zollt sie Künstlern und Bands Tribut, die nicht zur offensichtlichen Auswahl gehören, wie z.B. Little Village, Little Milton, The Fabulous Thunderbirds, James Ray, covert gleichzeitig aber auch bahnbrechende Blues-Ikonen wie Albert King, Peter Green von Fleetwood Mac und Magic Sam. Einige Songs sind B-Seiten von Singles. War es eine bewusste Entscheidung von Joanne, Songs zu covern, die keine bekannten Blues-Standards sind? 'Wir versuchen, nicht die ausgetretenen Pfade des Blues zu gehen', erklärt Bonamassa. 'Jeder Song muss für sich selbst stehen und gleichzeitig den ursprünglichen Meistern Tribut zollen.'