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Freddy McKays "Creation"-Album, das von Ossie Hibbert produziert wurde, enthält eine gut gewählte Mischung aus Originalen, die bald zu Klassikern werden, sowie eine Auswahl inspirierter hymnischer Neuinterpretationen. Es spricht für die Qualität dieser Veröffentlichung, dass sich diese inspirierten Interpretationen mit den Originalen von Burning Spear und Dennis Brown messen können. Die Auswahl an subtilen Dub-Versionen der enthaltenen Songs unterstreicht die Brillanz der Musiker, die im Stil der klassischen "Rockers" spielen, die die zweite Hälfte der siebziger Jahre dominierten.

“Not a lot of people talk about the true origins of bluegrass music,” says Swamp Dogg, “but it came from Black people. The banjo, the washtub, all that stuff started with African Americans. We were playing it before it even had a name.” Blackgrass, Swamp Dogg’s remarkable new album, is no history lesson, though. Produced by Ryan Olson (Bon Iver, Poliça) andrecorded with an all-star band including Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan, the collection is a riotous blend of past and present, mixing the sacred and the profane in typical Swamp Dogg fashion as it blurs the lines between folk, roots, country, blues, and soul. The tracklist is an eclectic one—brand new originals and vintage Swamp Dogg classics sit side by side with reimaginings of ’70s R&B hits and timeless ’50s pop tunes—but the performances are thoroughly cohesive, filtering everything through a progressive Appalachian lens that nods to tradition without ever being bound by it. Special guests like Margo Price, Jenny Lewis, Justin Vernon, and The Cactus Blossoms all add to the excitement here, but it’s ultimately the 81-year-old Swamp Dogg’s delivery—sly and playful and full of genuine joy and ache—that steals the show. The result is a record that’s as reverent as it is raunchy, a collection that challenges conventional notions of genre and race while at the same time celebrating the music that helped make Swamp Dogg the beloved iconoclast he’s known as today.

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered from the Analogue Mix-Down Tapes of the Original Digital Recording by Bernie Grundman!
Ultra-Luxe "Monster Pack" Jacket with a Deluxe 16-Page Booklet & Striking Outer Slipcase!

New lacquers cut after each run of 500 pressings!

Strictly Limited to 5,000 Numbered Pressings!

Impex 1STEP #5 celebrates Patricia Barber's 1999 "return" to The Green Mill, Chicago's fabled jazz club. Conceived as a "companion" to her Grammy-winning studio album Modern Cool, Companion finds Barber and her touring band in inspired form, playfully and energetically performing hits and deep tracks from her celebrated oeuvre.

The dynamic interaction between the artist and her reverent audience adds a palpable sense of space and community. At the same time, the fans' hushed attention creates a studio-like sense of precision and detail. The snap and crackle of Barber, her grand piano, and her onstage partners practically leaps off the groove into your listening room!

Companion's fan-favorite reputation is enhanced immeasurably by Jim Anderson's jaw-dropping, lifelike recording. Eschewing the crystalline sterility of digital recordings of the time, Anderson's sound is always warm, natural, and lacking unforced "hype."

Like Anderson, Impex aims to present great recordings that are as natural as possible. And we couldn't wait to put our favorite Patricia Barber release, using Jim's analog mix-down master tapes, on 180 grams of VR900 Super Vinyl. The deep, inky black backgrounds and absence of surface noise will pull listeners right into those three evenings in 1999, capturing a seminal modern jazz artist at a creative and professional peak and reveling in a perfectly rendered and joyous audio time capsule.

Finally, our deluxe Impex Treatment packages the whole party with a lovely outer slipcase, a booklet containing a new note from Patricia, and a dazzling array of photographs from the evenings by frequent Barber collaborator Valerie Booth, exclusive to our 1STEP. Heavy paper stock with spot gloss coating and a faithfully recreated exterior design will satisfy original fans and aesthetes throughout the music-loving world.

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

Created with her accomplice Matthis Pascaud (guitars and production), her new opus Oizel , gives pride of place to her folk and pop influences. With her voice poised, naked and quivering, in subtly kneaded French - her language of sunken hearts, she calls on the inspiring birds, mocking blackbirds or wild geese, funny birds, libertarians and marginal people of all feathers. Between poignant laments and cheeky refrains, it resonates like a vibrant declaration of independence, and gives voice to the gentle yet fierce, tender yet unruly song of an artist and a woman who, more than ever, from the impregnable heights to which her music lifts her, tells us: "No, you're not going to put me in a box like that."

On 24th May, 2024, the exact day of its Golden Jubilee, Diamond Dogs will be issued as a limited edition 50th anniversary half-speed mastered LP. The first single from the album, ‘Rebel Rebel’, reached number 5 in the UK and the album would also reach similar heights on both sides of the Atlantic reaching number 1 in the UK and number 5 in the USA.



This new pressing of Diamond Dogs was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios



The writing of the album was influenced by Bowie not being able to secure the rights for a theatrical production of George Orwell’s 1984 and the work of William S. Burroughs, whom Bowie had interviewed for Rolling Stone in November 1973. The songs on the album created an urban apocalyptic scenario with Bowie appearing on the cover as a controversial half-man, half-dog hybrid painted by the Belgian artist Guy Peellaert from photos by the world-renowned photographer Terry O’Neill. Since its release, tracks from Diamond Dogs have been covered by artists such as Beck, Tina Turner, Duran Duran, Def Leppard, Joan As Police Woman, Dead Or Alive and The Struts.

Suffering can be a borderline experience, opening doors to the divine. Canadian black-metal-outfit GIVRE has dedicated its fourth album to this concept, well known throughout Christian history: On "Le Cloitre" (engl. "The Cloister") the band continues its exploration of the atoning side of pain and the austere aspects of faith through music that goes all the way from elegiac elegance to disturbing outbursts. Even the band deals with Christianity, through a historic lense, they should not be understood as religious band in any way!

The group was founded back in 2010 in Rouyn-Noranda by David Caron-Proulx (Composition, guitars, keys), Jean-Lou David (research, vocals), and Mathieu Garon (bass) when they were just 16 years old. They self-produced a demo album, then moved away from their hometowns. David is now a composer for film and mixed media and Jean-Lou is a writer and historian. In October 2020, ten years after their first collaborative endeavors, they reunited and recorded two more albums: "Le Pressoir mystique" and "Destin Messianique".

The creation of "Le Cloitre" was a lengthy process. While most recordings were made right after "Destin Messianique" in 2021, extensive work was done over an extended period of time to add layers and perfect the album's concept. Each of the six songs corresponds to a holy woman from Christian history. The lyrics are taken directly from their writings or hagiography (an idealized biography), delving into their connection to the divine through suffering. The words are sometimes rearranged, but they are all direct citations without anything new added to them, from the symbolic poetry of Hildegard Von Bingen (1098-1179) to the disturbing and factual depictions of Marthe Robin (1902-1981).

The compositions vary to reflect these different perspectives: sometimes dark and eerie, other times blissful or sorrowful. Therefore, a crucial addition to the album's atmosphere was the inclusion of female vocal performances. Additionally, samples from the French film "Le dialogue des Carmelites" from 1959 are incorporated. Excerpts of a piece by Hildegard von Bingen are used in the song dedicated to her. The album was recorded in the band members'home studios. Mixing and mastering were done by long-time-collaborator Gael Poisson-Lemay (Gris, Sombre Forets, Miserere Luminis), who also contributed guitars to the song about Marthe Robin. Vinyl mastering was done by Greg Chandler (Esoteric) at Priory Recording Studios.

The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances. Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity. The album definitely is about how we feel and experience the world around us in our 30s and 40s. The Baby Seals have grown up? Does not mean sonically lame for sure. The album definitely has themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously. Title track, Chaos is one of the songs on the album written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community. Further stand-outs are the funny "ID'd At Aldi" and the just classy "Vibrator" The cover artwork sums us up and hopefully gives you a feeling of what the album sounds like.

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

With love from Northern Europe...
Erotic Mondo's hidden treasure!
Long-awaited analog reissue of two Monica Lassen album titles

A woman erotic work produced in Japan with the setting of "A work created for the enjoyment of men and women by a Swedish female musician named Monika Lassen, who is also active as a sexual psychologist.''

Mondo's hidden treasure.
This is a rare and unusual record, with sounds that overlap with the dazzling sounds of jazz, rock, lounge, psych, etc.

The sequel was released one year after the previous work ‘Woman’ was well received. It's an erotic Japanese groove that knows no bounds, with more moaning voices than the previous work, heavy fuzz guitar, piercing organ, and sexy scat!


A total concept album consisting of the same song at the beginning and end of both sides.

GER Jim Jarmusch und Carter Logan (Gründungsmitglieder von SQÜRL) kehren mit einer klanglichen Erkundung des filmischen Werks des dadaistischen Pioniers Man Ray zurück, einem fesselnden Projekt, das Musik und Film miteinander verschmilzt. In den vergangenen acht Jahren haben SQÜRL das Publikum mit ihrer Live-Vertonung von Man Rays Kurzfilmen in ausverkauften Konzerten an renommierten Orten wie dem Centre Pompidou in Paris, der Queen Elizabeth Hall in London und dem Art Institute of Chicago verzaubert. Der Höhepunkt ihrer Bemühungen fand im Frühjahr 2023 statt, zum 100. Jahrestag von Man Rays erstem Ausflug ins Filmemachen, als der neu restaurierte Film "Die Rückkehr zur Vernunft" bei den Filmfestspielen von Cannes seine Premiere feierte. Der von Womanray (Marieke Tricoire) und Cinenovo (Julie Viez) produzierte Film ist eine Anthologie mit vier Stummfilm-Kurzfilmen von Man Ray - Étoile de mer (1928), Emak bakia (1926), Le Retour á la Raison (1923) und Les Mysteres du Château de Dé. (1929) - jeweils gepaart mit einer Originalpartitur von SQÜRL. Jarmusch und Logan, zwei multidisziplinäre Künstler, die für ihre Experimentierfreudigkeit bekannt sind, wollten mit diesen Partituren einen ekstatischen Zustand schaffen, einen Raum zwischen Bewusstsein und Unterbewusstsein, Realität und Surrealem. Das daraus resultierende Album "Music for Man Ray", das aus einer Live-Aufnahme im Centre Pompidou in Paris im Februar 2023 hervorging, enthält verzerrte Gitarren, hypnotische Rückkopplungen, Loops und affektierte Synthesizer Logan: "Es ist eine Reise, auf die wir das Publikum mitnehmen wollen, indem wir Themen in diesen Filmen beleuchten. Sie sind eigenständig, aber es gibt auch wiederkehrende Anklänge im gesamten Programm." Jim Jarmusch fügt hinzu: "Wir sind sehr stolz darauf, die Begleitband von Man Ray zu sein." Nun erblicken sowohl der Film als auch die daraus resultierende Musik in Form von "Music for Man Ray" das Licht der Welt - beide stehen als Zeugnis für die kreative Synergie zwischen Man Rays bahnbrechendem Kino und der innovativen musikalischen Interpretation durch SQÜRL.

[ENG] Clear Vinyl. Jim Jarmusch and Carter Logan (founding members of SQÜRL) return with a sonic exploration of the cinematic works of Dadaist pioneer Man Ray, a captivating project that melds music and film. Over the past eight years, SQÜRL have been enchanting audiences with their live scores to Man Ray's short films across sold-out shows in prestigious venues like the Centre Pompidou in Paris, Queen Elizabeth Hall in London, and the Art Institute of Chicago. The culmination of their endeavor took place in the spring of 2023, on the 100th anniversary of Man Ray's inaugural foray into filmmaking, when the newly restored Return to Reason premiered at the Cannes Film Festival. Produced by Womanray (Marieke Tricoire) and Cinenovo (Julie Viez), Return to Reason unfolds as an anthology featuring four silent short films by Man Ray _ Étoile de mer (1928), Emak bakia (1926), Le Retour á la Raison (1923), and Les Mysteres du Château de Dé. (1929) _ each paired with an original score by SQÜRL. Jarmusch and Logan, two multi-disciplinary artists known for their experimental prowess, approached these scores as a way to create an ecstatic state, a space between consciousness and unconsciousness, reality, and the surreal. The resulting album, Music for Man Ray, born out of a live recording at the Centre Pompidou in Paris in February of 2023, features distorted guitars, hypnotic feedback, loops and affected synthesizers. In the words of Logan, "It's a journey we want to take the audience on, illuminating themes throughout these films. They are discrete, but there are also recurring echoes throughout the whole program." Jim Jarmusch adds, "We feel very proud to be Man Ray's backup band." Now both the film Return to Reason and the resulting music in the form of Music for Man Ray are seeing the light of day _ both stand as a testament to the creative synergy between Man Ray's groundbreaking cinema and the innovative musical interpretation by SQÜRL.

Jim Jarmusch und Carter Logan (Gründungsmitglieder von SQÜRL) kehren mit einer klanglichen Erkundung des filmischen Werks des dadaistischen Pioniers Man Ray zurück, einem fesselnden Projekt, das Musik und Film miteinander verschmilzt. In den vergangenen acht Jahren haben SQÜRL das Publikum mit ihrer Live-Vertonung von Man Rays Kurzfilmen in ausverkauften Konzerten an renommierten Orten wie dem Centre Pompidou in Paris, der Queen Elizabeth Hall in London und dem Art Institute of Chicago verzaubert. Der Höhepunkt ihrer Bemühungen fand im Frühjahr 2023 statt, zum 100. Jahrestag von Man Rays erstem Ausflug ins Filmemachen, als der neu restaurierte Film "Die Rückkehr zur Vernunft" bei den Filmfestspielen von Cannes seine Premiere feierte. Der von Womanray (Marieke Tricoire) und Cinenovo (Julie Viez) produzierte Film ist eine Anthologie mit vier Stummfilm-Kurzfilmen von Man Ray - Étoile de mer (1928), Emak bakia (1926), Le Retour á la Raison (1923) und Les Mysteres du Château de Dé. (1929) - jeweils gepaart mit einer Originalpartitur von SQÜRL. Jarmusch und Logan, zwei multidisziplinäre Künstler, die für ihre Experimentierfreudigkeit bekannt sind, wollten mit diesen Partituren einen ekstatischen Zustand schaffen, einen Raum zwischen Bewusstsein und Unterbewusstsein, Realität und Surrealem. Das daraus resultierende Album "Music for Man Ray", das aus einer Live-Aufnahme im Centre Pompidou in Paris im Februar 2023 hervorging, enthält verzerrte Gitarren, hypnotische Rückkopplungen, Loops und affektierte Synthesizer Logan: "Es ist eine Reise, auf die wir das Publikum mitnehmen wollen, indem wir Themen in diesen Filmen beleuchten. Sie sind eigenständig, aber es gibt auch wiederkehrende Anklänge im gesamten Programm." Jim Jarmusch fügt hinzu: "Wir sind sehr stolz darauf, die Begleitband von Man Ray zu sein." Nun erblicken sowohl der Film als auch die daraus resultierende Musik in Form von "Music for Man Ray" das Licht der Welt - beide stehen als Zeugnis für die kreative Synergie zwischen Man Rays bahnbrechendem Kino und der innovativen musikalischen Interpretation durch SQÜRL.

"Imagine: It’s sometime in the back half of the 19th century, America. You’re sitting in the parlor of your mansion, or in the only room of your shack; things are dusty and smell like sweat and hair, no matter how wealthy you may be. You don’t own a phonograph, and you don’t know who Tony Hawk is, but you have an inkling of how good the word 'shred' is going to feel when it enters the local slang. Suddenly, a tall, elegant figure with beautifully maintained fingernails emerges from some corner of the room, carrying a guitar. He says in a soft voice, 'I have a transmission for you, from the coming few centuries. Would you like to hear it? I figured you wouldn’t have a dongle, so I brought my guitar.' You may be apprehensive, but you shouldn’t be. Shane happens to be an internationally renowned virtuoso of the guitar. Specifically, he’s the kind of virtuoso who is as deep on style as he is on technique. His technical prowess is almost maddeningly complete; aiming paradoxically for the yards-long target called “breadth” he’s somehow hit all of it, 500 arrows piercing every pore of the landscape. He has that much technique not for the sake of guitar worship but to best bring the music forth clearly and in his own hand, like a pearl formed in a specific sea. I know this because I’ve sat next to him in multiple countries and American states and seen him deliver transmissions of that extreme honesty, with that extreme capability. Like Derek Bailey’s 'Ballads,' this record brings you into the room and the breath of a true musician whose mastery does not overshadow his appreciation of the music that inspired it. The title, 'Repertoire,' underscores the beautiful songs he chose to perform, all standards of 20th century musical excellence. The in-time persistence of his blues-walked 'Lonely Woman.' The grand registral descent he performs on 'Pithecanthropus Erectus,' like a rare document of the trip down from Everest. Dig how 'Better Get Hit in Your Soul,' emphasizes the folk blues water coursing through Mingus’s Ellingtonia, how Aphex Twin’s 'Avril 14' and the Minutemen’s 'Cohesion' sound so much older than Cage’s 'Totem Ancestors.' 'Repertoire' puts forth the idea that time is arrangement: time and arrangement are each only as successful as they are faithful to their origins and expansive in their style. Again, lest you fear the alien smoothness some associate with the concept 'virtuoso,' remember here we’re dealing with a time- traveler. His virtuosity is home grown, born of human work rather than some abstract or divine touch; the aim is not to go beyond the realm of human technical possibility but to expand it in the direction of human, meaning, timely. This guy can play anything, and for you, for this record, which sounds intimate and as present as a transmission from a time-traveler, he chooses to."—Wendy Eisenberg

7A Records are proud to present Davy Jones’ “Incredible!”. A deluxe reissue of Jones' “lost” ‘80s album, remastered and expanded with bonus tracks. The limited edition gatefold Vinyl release is limited to 1,000 copies. Pressed on 180g transparent blue vinyl, it features extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures by photographer Henry Diltz.

Fuelled by MTV’s re-runs of the original Monkees TV series, “Incredible!” was recorded at the height of mid-‘80s Monkees comeback-euphoria. Given the flurry of activity happening on multiple fronts for the Monkees throughout 1986, especially the grueling demands of their touring schedule, the fact that Davy Jones managed to record a full album amid the chaos is somewhat staggering. “Incredible!” features several songs that could well have reached the Billboard charts, had things played out differently. However, Jones decided to hang on to the album and it ended up being self-released on cassette on his own mail order label. The minimalistic promotion and treatment of the original release belie the considerable studio and artist firepower behind these recordings. This deluxe repackaging allows this chapter in Jones’ fascinating journey to finally more fulsomely shine.

• Remastered With 6 Bonus Tracks
• Rare & Previously Unseen Photos
• Extensive Liner Notes
• Limited to 1,000 copies

Although Santana had been famous for his live shows since his performance at Woodstock, the 1977 album Moonflower was his first live release (albeit interspersed with a series of studio recordings). It showcases the best of Santana in the mid-Seventies: the Latin-infused blues/rock, the spiritual jazz fusion, the unstoppable energy of Santana on stage. A cover version of The Zombies' mid-Sixties song "She's Not There" was released as a single and became Santana's first Top 40 hit in over five years.

Rory Gallagher´s musikalisches Schaffen konzentrierte sich auf Blues und Rock in verschiedenen Spielarten. Sein Markenzeichen war seine von ihm
nahezu ausschließlich gespielte, spezielle E-Gitarre. Das renommierte Rolling Stone-Magazin listete Gallagher zu den "besten Gitarristen aller Zeiten".
Diese 12" LP, gepresst in transparentem Vinyl, beinhaltet legendäre Radio-Livemitschnitte aus dem Jahr 1992.

Fabulous Soundtracks, the fourth studio album by reclusive Los Angeles musician Jack Name, is an homage to the IRL world and its twisted and varied romance with the worlds of our minds, in a wild collection of "soundtracks'', each a sonic re-construction dedicated to a distinct scene. Both musically and lyrically, this is Name's most adventurous and genre-defying album. Elements of acid, dance, folk, micro-tonal weirdness, horror, sensuality, impressionism, and bursts of rock fuse with Name's most direct yet ethereal lyric writing to date.

Each song with artful intention confuses dream-like experiences and common everyday situations, and vice-versa, sometimes inflicting a frightening energy into the banal, or this in reverse. Offering a "fabulous soundtrack" as the title implies, to dreamlike cinematic scenography including but not limited to; walking alone through a park at night, a woman tiptoeing through a garden, a person wrestling with time and change, lust, grieving a pet, driving alone in the rain, laying in bed with a lover, a bare tree standing in a field, looking through pieces of glass, and inviting the devil into the home (as one does).

This country-blues psych album was originally released near the end of 1970, and though it was their sole album, December's Children are a good example of how music was changing between the end of the '60s and beginning of the '70s. Accented by psychedelic keys & organ (especially in "Trilogy"), it's been described as Texas garage rock, with funky, hook driven guitar - particularly in "Sweet Talkin' Woman" and "Last Monday Night."

Nestled somewhere between the soul jazz, spiritual jazz, fusion, and post-bop subgenres, 1974’s Cosmic Funk headed, as the title indicates, in a funkier direction, with Lonnie Liston Smith’s brother Donald contributing smooth vocal stylings to John Coltrane’s “Naima” among other tunes. A transitional work but a fascinating one, with surehanded production once again from Bob Thiele. Features the original gatefold album art… another “post-fusion” masterwork fro

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

Disperú is the first independent record label in Peru and South America that was founded and run by a woman. In the space of five years Rebeca Llave turned not only Disperú into a successful company but also transformed it into an amplifier and showcase for unique Peruvian popular music projects including the raw, wild and visceral sound of Los Saicos, 60s punk pioneers. This compilation comprises 14 amazing tracks, ranging from cumbia or boogaloo to beat and garage, to celebrate the music legacy of this unique pioneer woman. Disperú was founded at a key moment for Peruvian popular music. In 1965 young Peruvians were gaining prominence in society and the entertainment industry. The hangover of the 'new wave', with its balladeers, persisted on the radio and television, but rock bands were also emerging, inspired by what was happening musically in Liverpool and on the beaches of California. Guided by her ability to spot talent and target what she perceived as commercial prospects, Rebeca signed up an impressive lineup of artists. Several of which would move on to bigger labels, after 'the girl with the charming smile' had set them on the recording road to fame. Besides gathering young rockers (Los Saicos, Jean Paul El Troglodita_) and new wave bands (Los 4 Brillantes, Golden Boys_) under its umbrella, Disperú also ventured into coastal and Andean music from Peru and tropical music (Chano Scotty y su Combo Latino, Toño y sus Sicodélicos_).

The title of the Lau Nau's 10th album, Aphrilis, derives from the Latin word aperire, meaning "to open." A fitting verb for the month of the year it is closely associated with — April. And while the images of plants and blossoms coming back to colorful life after a long, cold winter feels appropriate when listening to the rich and lustrous bloom of music on Aphrilis, another definition of open feels even more apt. For under the abundance lies the memory of times of austerity, the friction of hard choices, the acceptance that nothing is fixed and the future is unknown. This literal and metaphorical exploration of complexity and contradiction makes Aphrilis a multi-dimensional antidote for our troubled times, one that emphasizes the quiet and communal over noise and spectacle. Laura Naukkarinen, the Finnish artist behind this project, has long kept her mind and spirit open to whatever sounds and creative ideas felt appropriate for the moment. For the past six years that has meant primarily working with modular synthesis — learning how to build modules and releasing acclaimed work centered on its sounds like 5x4 (2023) or Puutarhassa (2022). Running parallel to this work, however, has been a continued exploration of acoustic instruments and group performances with her trio Lau Nau ja Seitsemäs Taivas. Aphrilis arrives then like fresh growth in a creative season cycle. A companion to her brilliant 2017 release Poseidon, the album, says Naukkarinen, "felt like a needed moment to embrace songs with lyrics again." And through the creation of this work, she remained open not only to her own creative muse, but also the input of her chosen collaborators. Each player on Aphrilis — Matti Bye on celesta and synths, Pekko Käppi on jouhikko, Hermanni Yli-Tepsa on violin and contrabass, Topias Tiheäsalo on electric guitar, Samuli Kosminen (Múm) on various instruments — was given free reign to arrange their own parts to accompany Naukkarinen's compositions. Kosminen’s lush fingerprint can also be heard in the mixing and production of the album, as with Poseidon six years ago. The moniker of this project may be taken from Naukkarinen’s own name, but Lau Nau feels more like a band than ever before. The delicacy and softness of the music is reflected in Naukkarinen’s lyrics. Each song is rife with imagery and creatures from the natural world. The spiders in the forest. The animals that keep a young woman company in her refuge in the woods. Wet grass. The feeling of the music is almost tactile, as if listening to the album will leave a bit of dew or sap on your fingers. The theme of this material, says Naukkarinen, runs even deeper. “The songs tell about cracks and changes of direction in different histories: personal, societal, planetary,” she says. “About moments when a yes can become a no and vice versa. The album wants to propose that at the moment of a crisis there is a possibility to influence the histories by our choices.” That may feel like a lot for such a fragile sounding collection of songs to bear. But Aphrilis is an album of surprising strength and resilience

From multiple Emmy Award-winning creators David Benioff and D. B. Weiss (Game of Thrones), and Emmy-nominated Alexander Woo (The Terror: Infamy, True Blood) comes 3 Body Problem, a thrilling story that redefines sci-fi drama with its layered mysteries and genre-bending high stakes. Based on the acclaimed, international bestselling book trilogy, The Three-Body Problem. A young woman's fateful decision in 1960s China reverberates across space and time to a group of brilliant scientists in the present day. As the laws of nature unravel before their eyes five former colleagues reunite to confront the greatest threat in humanity's history.

The anticipated series features a score by the multiple award-winning composer Ramin Djawadi, who is best known for scoring memorable themes and dynamic pieces for films and series including Game of Thrones, House of the Dragon, and Westworld. The acclaimed composer has received two Primetime Emmy Awards, was nominated for five more, and received three nominations for a Grammy Award.

3 Body Problem is available as a limited edition on translucent blue coloured vinyl, includes an insert and sticker sheet.

"Stepmom is a 1998 comedy-drama film directed by Chris Columbus and stars Julia Roberts, Susan Sarandon, Ed Harris and Jena Malone. The story follows a terminally ill woman dealing with her ex-husband's new lover, who soon will become their children's stepmother. Susan Sarandon was nominated for a Golden Globe Award for Best Actress in a Motion Picture - Drama for performance. The music was composed and conducted by the legendary John Williams, who already worked together with Columbus on Home Alone and Home Alone 2: Lost in New York. They would also continue to work together on the first two movies of the Harry Potter franchise. For the soundtrack of Stepmom, Williams received a BMI Film Music Award in 1999. Stepmom is available on vinyl for the very first time as a limited edition of 500 individually numbered copies on translucent green coloured vinyl and includes an insert with liner notes by Chris Columbus."

Stepmom by John Williams, released 9 May 2024, includes the following tracks: "Time Spins Its Web", "A Christmas Quilt", "Taking Pictures" and more.

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

The vinyl is pressed as a translucent, green disc. Another vinyl is pressed as a translucent, green disc.

Bluesy rust-belt psych from Ohio's December's Children! Bouncing between male and female vocalists, tight harmonies, country flavor and rock 'n' roll style, their sound fit the transition between pop and heavy rock in the late '60s. Pressed on pink vinyl! This country-blues psych album was originally released near the end of 1970, and though it was their sole album, December's Children are a good example of how music was changing between the end of the '60s and beginning of the '70s. Accented by psychedelic keys & organ (especially in "Trilogy"), it's been described as Texas garage rock, with funky, hook driven guitar - particularly in "Sweet Talkin' Woman" and "Last Monday Night." Opting for a more straight forward rock 'n' roll sound, the band never considered themselves psychedelic (though that was being pushed at the time), and though they weren't as heavy as Blue Cheer, their country-blues sound is nearly a precursor to later albums by Savoy Brown and Blodwyn Pig

"Post-Apocalypto' finds Tenacious D thrust into a world of complete and utter destruction following the drop of an atomic bomb. Surviving the attack in classic cinematic fashion (a good old imperishable 1950s refrigerator), the duo quickly learns that new forms of evil have spawned from the blast. One thing becomes apparent for humanity to prevail, Tenacious D must save the world". Standard Black LP vinyl re-issue catalogue campaign. Spring UK tour dates. Promo & marketing activity around the catalogue & live dates.

Das vierte Werk des Duos Jack Black & Kyle Gass, "Post-Apocalypto", wird auf schwarzem 180g-Vinyl mit einem 16-seitigen Booklet neu aufgelegt. Zusammen mit prominenten Gästen (Dave Grohl, John Konesky) bewegt sich die Band zwischen Geschichten und Liedern, um uns in eine völlig verrückte postapokalyptische Welt zu entführen. Tenacious D bereiten sich derzeit auf eine Welttournee vor und werden am 15. Mai 2024 in Paris auftreten.

wieder auf Lager Fragte man in den 1970er-Jahren nach den besten weißen Interpreten Soul- und Blues-getränkter Rockmusik, so nannten die Kritiker in der Regel neben Eric Burdon, Rod Stewart und Joe Cocker auch immer Frankie Miller. Doch anders als die Erstgenannten schaffte der sympathische Pub-Rocker aus Glasgow nie den großen Durchbruch. Obwohl Frankie Miller aus Schottland kommt, stammen seine Idole aus der amerikanischen Rock- und Soulszene und hören auf die Namen Ray Charles, Sam Cooke und Otis Redding. Die 3CD bzw. Doppel-LP "Live At Rockpalast" mit Aufnahmen von der Loreley 1982, aus dem Kölner WDR-Studio 1976 und von den Wiesbadener Maifestspielen 1979 bringen dies eindrucksvoll zu Gehör. Die außergewöhnlichen Mitschnitte zeigen Frankie Miller in bestechender Form und unterstreichen dessen außergewöhnliches musikalisches Talent. Spätestens mit dieser Veröffentlichung wird all zu deutlich: Frankie Miller ist einer der am meisten unterschätzten Rocksänger!

Special new 25th anniversary edition of this most popular and highly-acclaimed of all Soul Jazz Records' Dynamite! series - 300% Dynamite is jam-packed with reggae tunes that crossed-over to become dancefloor hits and are 100% guaranteed to rock any party!

Out of print for the last 15 years, this new edition is being released in a one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing + download code exclusively for Record Store Day 2024. This album is fully remastered, relicensed and with new tracks exclusively for RSD 24. Wayne Smith's booming anthem "Sleng Teng", Althea & Donna's worldwide hit 'Uptown Top Ranking', Sister Nancy's classic "Bam Bam", Augustus Pablo, Lee Perry - it's all here as 300% Dynamite joins the dots between reggae, jazz, funk, dub and soul.

Another well kept secret from the Italian cult electronic music imprint - Interactive Test. A 4 track EP with a wide range of flavours in "house" music, very much dependent on the different samples employed. A side starts off with a deep house track echoing similar atmospheric qualities as to some of the dancefloor oriented productions making their way into US underground scene around that time, specifically Chicago and Detroit. The Percapella Mix makes the dedication to the Canadian Disco legend Gino Soccio very clear with a lengthy sample of "There's a Woman", a track which uses early electronics in a pioneering way, with what could possibly be one of the first examples of an Acid Bass line. On the B-side, things slow down a a notch with more clear cut explorations in Acid house featuring layers of synths and percussive samples and occasional placement of vocal samples from countries far away from Italy, all made possible thanks to the new exciting technologies that had recently been made available to producers at the time. Remastered by Man Made Mastering in Berlin and re-released with new full cover artwork.

Repress!

The publication of "Jet Sounds" in October 2000 and its subsequent release on the international market represented the turning point from the initial productions carried forward by Schema and the new course taken by the label reaching sales of 40,000 copies and still counting. It's the year 2000 and the avant-garde of the new jazz pop Italian scene is called "Jet Sounds". The debut album by Nicola Conte features nearly 20 musicians and moreover the visionary, sophisticated appeal of Nicola with a sound that has already become T . He tells a cinematic story as the images become a soundtrack for the music: Scene 1: A young woman is walking on the sea shore. She's alone, only white sand and crystal blue water by her side. It's late in the afternoon and the sun is glancing over her shoulders while a soft bossa nova fills the air. Scene 2: He's drivin' fast, there's little time left and a man to chase. Like busy spiders working a web, the beat of the big band pulses a 5/4 jazz theme. Scene 3: It's night; the park; shadows following, shadows hiding mystery? Undefined eastern/oriental sounds adrift on a pulsing psychedelic beat. What's the next move...?

The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances. Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. Working with engineer Joe in a secluded outhouse surrounded by fields, the band laid down the tracks live over a day, capturing the unfiltered essence of their sound. Joe's extensive collection of homemade pedals added a unique touch to the recording, while Benny T's mixing expertise brought the album to its final form. The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity. On Chaos Kerry says: “Chaos is the next phase in life for us lasses in the band - babies and mid-life responsibilities. The album definitely is about how we feel and experience the world around us in our 30s and 40s. Someone who heard the album recently said it's like the The Baby Seals have grown up and I liked that because that's what I feel likes happened to me in the last two years… The album definitely has Themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously. Title track, Chaos is one of the songs on the album which I'd written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community. The cover photo by Jeff Pitcher sums us up and hopefully gives you a feeling of what the album sounds like. Album design was created by Igor Prato Luna, he just seemed to understand what we are about. He referenced loads of wonderful album cover, poster and flyer artwork from the 60s - 90s, and even some fabulous sci-fi artwork from the 1920s and those incredible 1950s sci-fi pulp book covers. Nothing was referenced too heavily, though, and Igor definitely made it his own

Holland, Dozier and Holland are arguably the greatest songwriters ever. More prolific than Lennon and McCartney, they shaped “the Sound of Young America” and propelled the Motown sound in the mid-1960s into a creative stratosphere unmatched by any other independent music label. Their trademark catchy teenage love songs were delivered energetically by previously unknown Detroit groups like The Supremes, the Four Tops, Martha & the Vandellas & Marvin Gaye. Although synonymous with Berry Gordy’s Motown, it was their departure from Motown after a stand-off strike in 1967 and a brutal legal battle that led them to run their own group of labels, Invictus, Hot Wax and Music Merchant. This compilation is a definitive look at this period in history, exploring how H-D-H, under a new guise ‘The Creative Corporation’, drove the next generation of soul music in a myriad of different ways, towards funk, underground disco and jazz. Featuring 55 tracks, this collection documents HDH’s creativity and growth over this seminal 8 year period. During this time the trio developed new artists to rival Motown’s success such as Chairman Of The Board, Freda Payne, Honey Cone, Glass House, Flaming Ember, 8th Day, Laura Lee & Eloise Laws. The collection is complete with a detailed depiction of this period in history by award winning author Stuart Cosgrove who wrote the Soul Trilogy, a series of books on soul music and social change - Detroit 67: the Year That Changed Soul, Memphis 68: The Tragedy of Southern Soul which won the Penderyn Prize, as Music Book of the Year in 2018, and Harlem 69: the Future of Soul. Stuart’s notes detail the relationship with Motown in the final days, the immediate fall out after the trio left Motown and the creation of the new labels Hot Wax, Invictus & Music Merchant

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her." Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson"s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment." While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she"s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson"s 2016 breakout single "Work." Additionally, she"s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there"s no sound Wilson can"t adapt to and sprinkle her cyan-colored magic over.

Saltburn is the 2023 black comedy psychological thriller film
written, directed, and co-produced by Emerald Fennell. The film stars a student (Barry Keoghan) at Oxford University, who finds himself drawn into the world of a charming and aristocratic classmate (Jacob Elordi), who invites him to his eccentric family’s sprawling estate for a summer never to be forgotten.

The film became one of the most-streamed films upon its streaming release on Amazon Prime Video in December 2023. It received critical acclaim and several accolades, including nominations for two Golden Globe Awards and five BAFTA Awards.
The music was created by Anthony Willis, who previously scored Fennell’s Promising Young Woman among others. Saltburn is available as a limited edition on white & black marbled vinyl and includes an insert.