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Paul Kelly, who died in South Carolina in 2012, only ever had one genuine 'hit', ”Stealing In The Name Of The Lord” in 1970, despite a recording career that lasted the best part of three decades. He also had the misfortune in later years to be confused with an Australian singer of the same name.

He was, however, a singer and writer of unusual and undeniable talent, and in the first half of the seventies -a time when his songs were in considerable demand- cut two of the greatest of all soul LPs down in Nashville, “Don't Burn Me” and “Hooked, Hogtied & Collared” with long-time mentor and producer Buddy Killen, on which the two self-penned tracks on this single initially appeared.

It is the first time either of them have been featured on a 45. “Tremble” is a lovely relaxed dance side, bathed in shimmering strings, while “Come With Me” flows effortlessly underneath Paul's sublime aching singing. Enjoy!

Nirvana's third LP is a masterpiece of late UK sixties popsike turning into symphonic pop, but not having received proper promotion despite being equally good as, if not better than their previous releases, it also marked the end of the collaborations between Patrick Campbel-Lyons and Alex Spyropoulos back in 1969.



Nirvana presented it to Island boss Chris Blackwell under the title of Black Flower. Blackwell, however, decided to turn it down for release, but gave the masters to Campbell-Lyons and Spyropoulos so they could find a new label to release the album. That was to happen in the USA through Metromedia Records in 1969. At that time, the label's owner went through a scandal due to the payola days, which left Nirvana's third offering without any promotion - as a result of that, very few copies were pressed. There was also a UK release on PYE and it was even released by Metromedia in Japan. However, for years it remained as "the lost" Nirvana release, with the added fact that none of the released editions launched the album under its original title of Black Flower but under the rather cryptic Dedicated To Markos II (read why in the liner notes!).



Musically, this is Nirvana at their best. The tune that should have been the title track, Black Flower, is an incredible piece of symphonic psychedelia and probably the best produced Nirvana track ever. Campbell-Lyons and Spyropoulos were backed for the occasion by Spooky Tooth, who played on many tracks of the album, and big orchestral arrangements mesmerize the listener in one of the duo's darkest offerings. This song aside, the rest of the album was deemed as sounding too much like a French soundtrack by Island, which may do at some points –without that being a bad thing,– but there is a lot more to it, since Nirvana have not lost that popsike edge that characterised their sound in their two previous outings.



This is also a record that was widely acclaimed in the hip hop scene. And samplers of it have been used by several artists, most notably DJ Shadow used Love Suite in his 1996 debut album Endtroducing.



The Wah Wah edition has been remastered from the original tapes by Roger Prades @ Prades Mastering and comes with a bonus 7" EP and a four page colour insert with liner notes by Malcom Dome, plus a sheet with the lyrics of the songs. First ever official vinyl reissue since 1970 in a limited edition of 500 copies only!

* Bass-heavy spiritual vibrations from dub duo Alpha and Omega featuring a mysterious uncredited singer on vocal duties.
* `Yemenite Chant’ originally surfaced on the classic `King and Queen’ LP in 1990.
* Along with the original cut, this 12” features 3 previously unreleased mixes.

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” *click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” *click, click.

WAX series of 12+1 London (TPO) first artist doesn't need introduction, Alex Arnout, for those still do not know this iconic music selector from U.K., he started his DJ career in Spain, and in the humble surroundings of many a local bar. The nineties were spent learning the basic skills so often lacking in today's break-through 'DJs'. Eventually catching the ear of someone that mattered, Arnout began playing more familiar outposts like DC:10 and Pin Up in Ibiza, Dance Valley in Amsterdam and CircoLoco in London, for whom he has been resident for the last few years. This is just the beginning of more than 20 years of history. Higher Orbit is his last work, an EP including three original tracks, 'What I Mean', 'Aabstrkt Mind' and the main hit 'Higher Orbit' also remixed by the head-honcho of the imprint U Z Z V.

Record Kicks presents "Yours Truly", the new album by Bordeaux's "Soulboy", Mr. Alexis Evans.

Like fine Red Wine, "Soulboy" Alexis Evans gets better with Age. The best evidence of this is his brand new album "Yours Truly", set for release on February 3rd, 2023 on LP, CD and digital via Milan-based label Record Kicks. Produced and mixed by Louis-Marin Renaud (Lou Doillon, Theo Lawrence, Desmond Myers), "Yours Truly" is the third studio album by Bordeaux-based singer-songwriter Alexis Evans and sees the light 4 years after his previous LP "I've Come A Long Way", defined "Soul album of The Year" by Rolling Stone France. "Yours Truly" consists of 12 brilliantly soulful cuts that take direct inspiration from 60's & 70's classic soul music adding a sound that is firmly rooted in the new millennium.

Anticipated by the first single "Mr Right On Time", the album was recorded between Bordeaux and Nantes during 2021 and beginning of 2022. The idea behind the new album was to find a unique sound, mixing classic 60's & 70's soul music with more contemporary influences such as hip hop beats, jazz, reggae, and Caribbean sounds. To do that, Alexis paired up with producer Louis-Marin Renaud, known for his work with French-English singer, actress and model Lou Doillon and country-soul rising star Theo Lawrence, who took part in the arrangements and mixed the album.

"All instruments were recorded live, some titles were completely live and others got modified, cut, sampled, depending on the tunes in a kind of beatmaking way. It was a very fun and fulfilling project that will sound awesome on stage for sure," explains Alexis.

Lyrically, the album could be described as soulful everyday rhymes. "Love may be the number one subject in soul music and clearly has its place of honor in a few songs ("Close to me", "What is this feeling"), while other songs tend to deal with it in a more cynical but poetic way, for instance on "Mister right on time", in which beauty remains in simplicity," states Mr. Evans. He continues: "Another topic of the album is abandonment ("It matters to me", "The only apple", "Close to the water"). Whether it is the fear of being left behind or the sadness after a loss, this album still bears some traces of lockdown and I was aiming at giving another perspective on different matters, looking at them in a dreamlike way." The themes of the album are reflected in the cover artwork, made by Adrià F Marquès.

Alexis Evans, songwriter with a timeless style based in Bordeaux, France, found the love of music and learnt to play guitar thanks to his father, an English musician. His inspirations range from Marvin Gaye and Sam Cooke to David Bowie. At the age of 17 he debuted with his first project "Jumping to the Westside", with which he was awarded the "Cognac Blues Passion" prize and flew to the "International Blues Challenge" in Memphis, Tennessee, where he impressed the American audience even though he was still a teenager. Mr. Evanshas built a household name in the scene as the "enfant prodige of soul" starting with his first album, released in 2015, and consolidated his reputation with his second long play "I've Come a Long Way", released in 2019 on Record Kicks. Rolling Stone France described it as "The Soul album of the year", while Blues & Soul Magazine and BBC 6 defined him as "One of the most exciting additions to the international Soul Scene". Following the release of the album, Alexis toured in France and Europe extensively, stopped only in 2020 by the Pandemic. Thanks to the forced break, Alexis started to lay down the new album, and he's now ready to present the fruit of his hard work: "Yours Truly".

Hailu Mergia & Dahlak Band's Wede Harer Guzo is the third release on Awesome Tapes From Africa for Ethiopian keyboard and accordion maestro. In the years since Shemonmuanaye, Mergia has revamped his touring career, playing festivals and clubs worldwide, including a recent tour supporting Beirut. By 1978, Addis Ababa's nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6:00 am. But that didn't stop some people from dancing and partying through the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning. One key denizen of Addis' musical golden age, Hailu Mergia, was preparing a follow-up to his seminal Tche Belew LP with the famed Walias Band. It was the band's only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band's afternoon rehearsal meetings, with sessions lasting three days. Dahlak Band catered to a slightly more youthful, local audience, while Mergia's main gig with the Walias at Addis' swankiest hotel had a mixed audience that included wealthy Ethiopians, foreign diplomats and older folks from abroad. Therefore, their sets featured lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile, Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd. Mergia released Wede Harer Guzo ("Journey to Harer," a city in eastern Ethiopia) with Sheba Music Shop, which was located in the Piazza district but has long since shut down. His cassette copy is the only known source we could find. Jessica Thompson at Coast Mastering managed to restore the recording to clean up layers of hiss, flutter and distorted frequencies, made worse by years of storage. Although there are some remaining sonic artifacts of the era's recording and cassette duplicating quality, this reissue captures the band's inimitable vibe. Recalling the audience's positive reaction to Wede Harer Guzo's novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there's no indication as to why the cassette appears largely forgotten until now

A showcase of Paco De Lucia’s mesmerising Montreux Jazz Festival live performances between 1984 to 2012.

The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. The release includes brand new liner notes and rare photos from his Montreux shows.

Wiederveröffentlichung des ursprünglich 2005 unter dem Künstlernamen Final Fantasy erschienenen ersten Albums von Owen Pallett.

Keyboardist and composer Weldon Irvine is among the most celebrated Jazz-Funk artists of all time. He was Nina Simone's bandleader for years, and wrote the lyrics for her iconic civil rights anthem To Be Young, Gifted and Black'. Throughout the 1970s, Irvine released a series of seminal albums full of deep, soulful, funky grooves. The Sisters is a collection of lost tracks and demos from his late-1970s studio sessions with fellow Jazz-Funk luminary Don Blackman. Featuring the hit single Morning Sunrise' (later famously sampled on Jay-Z's Dear Summer'), the album contains a mix of instrumental and vocal tracks that stand up with the best work in Irvine's impressive catalog. Courtesy of Nature Sounds, this rare collection is finally back in stock on limited-edition vinyl. Order this official reissue of The Sisters now while supplies last.

2023 Repress

Perc returns to Perc Trax for his first original release of 2020 and his first full EP since 'Three Tracks To Send To Your Ghost Producer' was released back in March 2019. 'Fire In Negative' includes three tracks adapted from his live set at Reaktor's Unpolished event in Amsterdam earlier of this year, plus another completed directly after that set when the atmosphere and energy of that event was still fresh in his mind.

Title track and opener 'Fire In Negative' fuses crushing kicks with covert art gallery recordings and the crackling flames of the title, topped off with Ventolin-esque sine tones. Another statement track from Perc, sidestepping the current trend for rave revivalism whilst matching its energy toe to toe.

'E Mono' is a classic Perc drum track, skipping big builds for an unexpected switch in the middle section, whilst 'Snare' goes in the opposite direction, breaking down into two minutes of abrasive feedback before finally kicking back in.

Limited Reissue! Originally released in 2016.


‘Tourist’s debut solo record is an intricate, melancholic and exceptionally well made LP that traces the arc of a relationship from its beginning stages to its dissolution. The U.K. producer has a deft touch and gift for melody, making U one of the more engaging electronic debuts we’ve seen this year.’ (The Line of Best Fit)

Stilistisch beeinflusste Lous Armstrong fast alle nachkommenden Trompeter der traditionellen Jazzstile. Darüber hinaus ist Satchmo, dessen unverwechselbare Stimme seine weltweite Popularität begründete, neben Billie Holiday und Ella Fitzgerald einer der bekanntesten Sänger des Jazz. Armstrongs musikalische Wurzeln lagen im New-Orleans-Jazz. Er hatte maßgeblichen Anteil an der Entwicklung dieser Stilrichtung weg von der Kollektivimprovisation hin zum herausgestellten Solo, womit er das Starsolistentum im Jazz begründete.

Ben E. Kings (1938-2015) kommerziell erfolgreichster Song ist das weltberühmte Stück "Stand By Me" von 1961. Insofern passt es sehr gut, nach diesem eine Hitkompilation zu benennen. Die Karriere des US-amerikanischen R&B- und Soulsängers startete 1955, als er zur Vokalgruppe Five Crowns stieß und dort James Clark ersetzte. Die Band setzte sich neben King, der als Leadsänger fungierte, aus Charlie Thomas (Tenor), Doc Green (Bariton) und Elsbeary Hobbs (Bass) zusammen. Ab 1958 trat die Formation unter dem Namen The Drifters auf. Von da an stellten sich größere Erfolge ein. So feierten die Drifters zum Beispiel mit dem von Leiber/Stoller produzierten "There Goes My Baby" einen ersten Rang in den R&B-Charts und einem zweiten Platz in der Pophitparade. Nach weniger als einem Jahr verließ King die Drifters und trieb seine Solokarriere voran. Dennoch nahm er noch einige Titel mit der Gruppe auf, darunter die Millionseller "Save The Last Dance For Me" und "Nobody But Me", die jeweils den ersten Platz der Charts erreichten. Nach seinen Soloaufnahmen "Spanish Harlem" (1960) und "Stand By Me" hatte er bis zum Ende der 1960er noch etliche Hits. 1975 gelang ihm mit "Supernatural Thing" ein stattliches Comeback, danach war Kings große Zeit vorbei.

2023 Repress

Shpongle came to light 20 years ago, emerging from the burgeoning Trance music scene. Simon Posford aka Hallucinogen and Raja Ram aka The Infinity Project were already leading lights on the pioneering new sonic realms of Trance music.

The Shpongle sound was formed out of the desire to share another side of the psychedelic spectrum of music and in doing so established themselves as important innovators and arguably, inventors of genres we now know as PsyChill, Psybient, Psydub or Psybreaks.

Are you Shpongled? contains 7 tracks of epic audio adventure. Each one taking the listener on a journey, with sensurround sounds emerging from the caves of tribal reality. Across the globe, both seasoned aficionados and new sonic surfers alike take delight in the original worlds of sound explored by these visionary pioneers on their debut album which still takes pride of place in many collections.

The Shpongle sound planted sonic seeds in fertile imaginations across the world and over the past 2 decades their fanbase has grown exponentially, creating an unforgettable impression on the minds ear of all who listen. With a full live band to compliment their studio origins, Shpongle have been headlining large scale concerts and festivals across the globe, most notably two sell out shows at The Roundhouse London in 2009 and more recently their legendary performance at Red Rocks in Colorado where Shpongle performed to a sell out crowd of 1000. They have also completed numerous tours of the USA with stateside crowds showing huge love for the band and establishing a loyal following. 

2023 Repress

* Nothing Lasts But Nothing Is Lost was the 3rd incredible installation of the Shpongle epic released in 2005 on Twisted Records. Now remastered for 2019.
It proved to be yet another masterclass in the psychedelic fusion of the worlds between musical genre and sonic geometry.
Simon Posford & Raja Ram interweave an impossible myriad of melodies on guitars, vocals, oud and horns with hifidelic sounds of masterfully manipulated glitchy synths and Raja’s inimitable Flute and otherworldly vocal mutations to create these majestic musical soundtracks.

The album famously features 20 tracks (which on vinyl appear as 8 separate tracks) designed so that every one flows seamlessly into another, continuously evolving like a musical hologram. Each new sonic world reflecting a psychedelic spectrum of the uniquely altered states of audio reality that Shpongle are renowned for.

With every track opening doors to new musical vistas, we are blessed to witness the ever changing sonic scenery that constantly shapeshifts in tone, timbre, tempo and time signature.

Opening with kaleidoscopic mandalas of a mythical music box that morphs into psychedelic funk on “Botanical Dimensions”, we know when Raj’s twisted vocal breaks that we are deeply in “Outer Shpongolia”. The diversity of musical sound surfing is unparalleled, touching on both established and newly invented genres such as latin glitch funk, arabic trance, psyfidelic dub, psychedelic samba massive with massive brass band riffs in “The Stamen of The Shamen” and even snake charmer techno- breaks on “Turn Up the Silence”. Nothing Lasts But Nothing Is Lost effortlessly and seamlessly emerges from one to the next and is a musical journey of such gargantuan portions that they barely fit into a 1 hour epic audio adventure!
On the third fantastical instalment of the Shpongle story, Raja & Simon tickle the synapses and kicking up the dust as evolutionary psychedelic textures and other worldly spaces meld with an irrepressible 4 to the floor of the Kickdrum liberally sprinkled throughout the album.

The mystical maestros undeniably delivered another astounding audio adventure, flipping the sonic switch for tripping without a hitch and earning its rightful place of any psychedelic connoisseur. 

Parlophone Records proudly announces DAVID BOWIE, A DIVINE SYMMETRY, the vinyl companion to the 4CD/1 Blu-Ray box set, released in November 2022.

This 1LP brings together early mixes of HUNKY DORY tracks originally featured on the BOWPROMO album in 1971 along with new alternative Ken Scott mixes to create an alternative version of the Hunky Dory album, also featuring the session outtake ‘Bombers’.

1971 was a pivotal year for Bowie. He signed a record deal with RCA, he met Andy Warhol, Lou Reed, and Iggy Pop while in New York, became a father and penned the song ‘KOOKS’ as a show of paternal pride, played live for the first time that June with Mick Ronson, Woody Woodmansey and Trevor Bolder, the band that would later be christened the Spiders From Mars and recorded the classic album HUNKY DORY.

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Peach Vinyl

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Tape
Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

LEMON YELLOW VINYL

As mui zyu, Hong Kong British artist Eva Liu navigates the tricky territory of ever-changing identity, merging fantasy and folklore to create a stage for self-acceptance and deliverance. On her debut full-length Rotten Bun for an Eggless Century, Liu utilizes chopped-up sound- scapes, delicate industrial ambience and sweet pop melodies to introduce a character--a guide--who can be stretched across worlds to offer the catharsis of patience, perseverance and understanding. This isn't a character formed from a desire to escape or flee the real world, but rather a way to submerge even deeper into ourselves. Rotten Bun for an Eggless Century is a reflection of everyone, and everything, that made us who we are. On her 2021 a wonderful thing vomits, Liu was praised for her seamless integration of darkened, often ominous instrumentation and pillowy-soft vocals. As the front person of UK indie-rock trio Dama Scout, Liu effortlessly navigates a disorientating genre-bending sonic landscape with a playful, gentle dexterity. Now, with the help of Dama Scout bandmate Luciano Rossi as co-producer, Liu's first solo full-length builds upon these previous worlds to form a blossoming, more upbeat patchwork of lo-fi percussion, poignant lyricism and oddly alluring arrangements. The writing process of Rotten Bun for an Eggless Century prompted Liu to explore more of her Hong Kong heritage, allowing a space for acceptance and celebration. "I am Chinese and I am owning it," she explains. "Before, I would resent it. I tried doing things that would make me like less Chinese somehow." As the album began to take shape, Liu read the traditional Chinese folklore writings of Pu Songling and joined local East and Southeast Asian groups. It opened a portal into a new self, where Liu could blend her love of video games and film scores with traditional Chinese instruments.

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

Exclusive Bundle LP+7"-
Exclusive lim.Yellow Vinyl + 7” Black Vinyl including exclusive Bonus Track “Slimbo”.

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

TRANSPARENT PURPLE VINYL

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

Tape

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

Explore the Duster universe on the far superior 45RPM format. This deluxe triple 7" box contains Duster's first single_1997's Transmission Flux (including "Stars Will Fall" & "Orbitron"), 1998's Apex, Trance- Like (featuring "Four Hours"), plus Stratosphere's painfully absent "Echo, Bravo" and the lost 2002 outtake "What You're Doing To Me." Housed in replica sleeves and placed in a sturdy two-piece box, Moods, Mode s also contains a Duster-branded hanky for those who like to accessorize .

Yellow Vinyl

Explore the Duster universe on the far superior 45RPM format. This deluxe triple 7" box contains Duster's first single_1997's Transmission Flux (including "Stars Will Fall" & "Orbitron"), 1998's Apex, Trance- Like (featuring "Four Hours"), plus Stratosphere's painfully absent "Echo, Bravo" and the lost 2002 outtake "What You're Doing To Me." Housed in replica sleeves and placed in a sturdy two-piece box, Moods, Mode s also contains a Duster-branded hanky for those who like to accessorize .

Futurismo present their new anthology series: Altered Vision, beginning with SUBURBAN ANNIHILATION The California Hardcore Explosion / From The City To The Beach: 1978-1983.

This aggressive collection draws from California’s rich history of punk, more specifically hardcore: a new sound that eschewed melody for intensity, a sound that took punk harder and faster, a sound intrinsically American. Whilst hardcore was also burning over on the East Coast, it was in California that it had ignited and sprawled, a sonic punch in the face that raged socio-political disdain and total abandonment for commercialism, fuelled by a crumbling American Dream and the collapse of family values.

Suburban Annihilation takes you from the major cities, to the coastal towns, to the SoCal suburbs, showcasing some the most important bands of the West Coast. Blasting off with the Adolescents ‘I Hate Children’, it heads from the year zero of Middle Class’s ‘Out Of Vogue’ to the surf punk of Agent Orange’s ‘Bloodstains’, from the blues tinged outlaw of The Gun Club’s ‘She’s Like Heroin to Me’ to the classic anti-anthems: ‘Live Fast Die Young’ by the Circle Jerks, lifted from their seminal Group Sex album, and the hardcore staple ‘California ÜberAlles’ by the Dead Kennedys. Also present are so many other bands integral to the era: T.S.O.L, Wasted Youth, Germs, Social Distortion, Suicidal Tendencies, Negative Trend, Flipper and many more.

Though the music was designed to repel, this historical document has been lovingly designed to remind us that this genre created some of the most immediate and acutely-realised music ever produced. Making this collection of choice cuts essential for long-time fans of hardcore and punk, just as those new and inquisitive about one of the most angry and pissed off genres to have given birth in America.

This 2xLP comes in a choice of limited edition coloured vinyl, it has a tracklist co-curated by Henry Rollins, it contains liner notes by Lisa Fancher of Frontier, a bio by award winning author Benjamin Myers, and contains a booklet featuring an array of images by the legendary punk photographer Edward Colver.

• Co-writer Charles Spurling sang and wrote at King in the late 60s, providing songs for James Brown, Hank Ballard, Junior McCants and Peggy & Artie among others. ‘Ball Of Fire’ is an exceptional song, first recorded by Connie Austin as a smouldering mid-tempo number on which she pours her heart out. It would be updated a year later by Marva Whitney who took it at a faster funkier pace. Charles Spurling remembers Connie as a good-looking, fast-living girl who was murdered in Los Angeles soon after.

• Spurling was a good singer himself and had five King releases between 1967 and 1969. The excellent ‘You’ve Got Love On Top Of Love’ failed to make it to wax until now. Kent found the tape in the King vaults and issued it on CD in 2001; now it is on a righteous single.

Thugwidow AKA Alex Lowther-Harris is a Jungle producer currently living in North Wales. Productions range from Hardcore rave tracks to more Ambient Tecky Jungle.

Thugwidow makes his Bukva debut with "An Otherwise Perfect Sky EP", these tracks and remixes represent the culmination of years of work, in honing his sound, working on production and grinding away. This record is a typical Thugwidow sound, the kind of tunes he loves making and listening to. With remixes from some of Thugwidows favourite artists Tim Reaper, Response & Pliskin. This record should be perfect for late nights, early mornings and perhaps the more chilled out moments when there's too much going on in your head.

Rediscover the most sampled original titles in the history of music! After the success of the first 5 volumes Soul, Funk, Groove,Jazz and Reggae, the Sampled collection is back with a new volume: Sampled Disco Funk! Find original titles sampled by: The Prodigy - Beastie Boys - Tyler The Creator - George Michael - 2Pac...

Jens Brands has created a large number of installations, musical performances and Interactive Media works. He uses the concepts of parallel activities rather then ideas of fusion. The pieces presented on this recording focus on sonic events related to electronic music (such as intense volumes and dynamics, white noise, square or sine waves) but stay entirely acoustic.

On a live performance of »Ratchets«, the sounds are generated with the idea of a physical, sculptural, yet invisible presence. It might happen that the body of a person moving around in the audience has more impact on the sound then the variations produced by instruments themselves.

"I was always interested in the idea of making acoustic music that has the quality of electronic music," muses Dortmund based musician and visual artist Jens Brand. "Electronic music is fantastic, but I don't like speakers very much."

Take his performance entitled »Motors And Styrofoam«. Pieces of glistening white styrofoam fitted with small motors hang from the ceiling above the audience's heads, squatting balefully in mid-air like lopsided clouds. Acting as a resonator, the styrofoam amplifies the whirr of the motors, which builds up into a loud, persistent drone overlaid with overtones.

Equally uncompromising is »Ratchets«, which deploys a number of football rattles, those small wooden devices originally used by hunters. The ratchets are set in motion by motors whose speed and direction are controlled by a computer: they click busily away, producing a dense, enveloping sound reminiscent of heavy rainfall. In performance, the sound of the ratchets is spellbinding in its rawness and intensity, attaining impressive volumes as it interacts with the features of the space.

This come-back is nothing other than the first step towards the new Fakear.

This new wave can be expressed in one word : Talisman, His new album. The first tracks Moonlight Moves and Altar have mesmerizing and intriguing sounds. It also features Voyager, with a music video mixing gorgeous mountain views and a feeling of weightlessness.

Today Fakear is above all Theo: with his emotions and his battles, one of them being for climate change, and the importance of our planet. For his new album, he collaborated with Camille Étienne, a known climate change activist, on his track Odyssea.

Ten years after his first steps in the industry, Fakear now returns to his roots, without looking to the past with nostalgia or contempt; but rather by contemplating his past self with kindness, and a tap on the shoulder. « I found myself », he admitted.

The two full-length records that Jeff Mangum made as Neutral Milk Hotel sound both in and out of time. Like translations of a shared subconscious, 1996's On Avery Island and 1998's In the Aeroplane Over the Sea give voice to the perennial spirit of youthful epiphany, of beginning to see the world clearly, to process and express it-no matter when you encounter them. With lo-fi indie rock, accordion, singing saw, tape collages, the so-called "zanzithophone" and beyond, Neutral Milk Hotel created an eternal entry into their Elephant 6 scene and an enduring feeling of possibility. Mangum was born in the small city of Ruston, Louisiana, in 1970, coming of age within the '80s and '90s indie and punk undergrounds, a movement of teenagers recording in their bedrooms, sharing zines and trading tapes, listening to hardcore and experimental music on college radio. For all the mythology Mangum's elusive persona has accrued-particularly during the 15 years immediately following Aeroplane, when he abruptly left the band behind-it's the beguiling songs themselves that have resonated so deeply for generations. In 2011, Mangum collected nearly all of the band's recorded output in a limited-edition box set (self-released under Neutral Milk Hotel Records, a small operation helmed by Mangum and his mother) which is now re-pressed by Merge. // CONTENTS: Black matte box is a 2-piece telescoping casewrapped package. Outer shrink-wrap includes a front sticker with "Neutral Milk Hotel," and a back sticker listing box contents. The box set includes 2 folded posters, each printed one side and each 24 x 24 inches when flat, and 1 postcard, printed front and back with box set information and sized 3.75 x 5 inches. Vinyl records: 1. In the Aeroplane Over the Sea: LP is 11 tracks pressed 33RPM to black vinyl in a gatefold jacket + printed insert for full album download. --- 2. On Avery Island: 2-LP is 12 tracks pressed to double black vinyl in a gatefold jacket + 11 x 11 printed insert + printed insert for full album download. Sides A, B and C pressed 45RPM. Side D pressed 33RPM. --- 3. Live at Jittery Joe's: 12-inch picture disc is 11 tracks pressed 33RPM to a full color picture disc in a heavyweight poly jacket + printed insert for full album download. --- 4. Ferris Wheel on Fire: 10-inch is 8 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download. --- 5. Everything Is: 10-inch is 7 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download --- 6. "Little Birds": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download 7-inch housed in a heavy-weight poly jacket. --- 7. "You've Passed": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavy-weight poly jacket. --- 8. "Holland, 1945": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavyweight poly jacket.

Braindance is the second, highly anticipated, collaborative EP from Irish producer DJ Mudak 2000 and French producer FTL, landing on their new label as the debut release.

Produced in Dublin & Paris, the two prolific junglists have encapsulated the intricacies of modern jungle while still highlighting the emotive elements of yesteryear.

The first track "I Wanna" begins as a fantastically light, classic jungle track with piercing soul vocals that unpacks into a soaring brawl of amens and intense 808s. A great representation of the duality of light and dark elements which make this whole EP a standout.

A2 "Barriers" is a driving, high tempo club ready cut. There is absolutely no messing about with this one, in your face reese business for the peak timers. On the flipside, title track "Braindance" is a complex yet ethereal roller carried along by hovering staccato vocals that are contrasted with a deep cutting sub that will hit you in all of the right spots.

The final track "Chasing A Dream" lives up to its name as its emotive synth lines and Sad Boys-esque cowbells will fill you with the tangible feelings of want and passion.

Beggars Arkive will release a long-awaited vinyl reissue of THE CULT"S second album LOVE on February 24th. THE CULT is fronted by Ian Astbury on vocals and Billy Duffy on guitar. Their music and albums at this point need no introduction as they have cemented themselves over the years since they began in 1983, as one of the greatest rock bands around. Love was the Cult"s second album, originally released in 1985. It was their breakthrough and produced many singles including "Rain", "Revolution" and the epic anthem "She Sells Sanctuary" - songs that still resonate today - in fact "She Sells Sanctuary" was recently featured in Season Two of the hit TV show Euphoria. The album eventually defined their career, but at the time, it flew in the face of everything that was going on in music.

Pure Adult are a Brooklyn-based experimental rock duo formed
by Jeremy Snyder and Bianca Abarca. At the centre of their
music is the far-left political ethos and DIY attitude the pair
share.
Having grown up in the unusually sheltered environment of a
church-turned-cult, Snyder has always found himself drawn to
the harsh, dissonant music that was off-limits during his
formative years. In 2017, he and contemporary dancer and
visual artist Bianca Abarca formed Pure Adult, who released
their debut EP, ‘Pure Adult I’, in 2019. Now they are set to
release their debut album, ‘II’, on FatCat Records.
After leaving the church in 2007, Jeremy began studying
religion, philosophy and politics whilst working as a sound
engineer. “I ended up touring with some small pop rock bands,
while my studies brought me through an array of beliefs and a
far-left political worldview. While I’ve identified as a communist
for almost 20 years now, I didn’t fully give up on religious belief
until around 2010. A fundamental element to our belief system
was this sort of unverifiable feeling that must be something and,
because I’ve experienced that feeling, virtually nothing can
make me deny it. And it’s comforting, in a world of quantifiable
uncertainty, a guise of certainty,” he says.
In more recent years, Jeremy has become the engineer of
choice to internationally acclaimed acts such as Mdou Moctar
and IDLES, both of whom are big fans of Pure Adult. IDLES
lead singer Joe Talbot says of the band’s forthcoming album:
“Pungent chaos that serves no pomp, instead it throws around
dark innuendo like a rag doll to the cadence of fury and fucking.
The best album I’ve heard in ages. The best band you haven’t
seen. Go dig, it’s beautiful at its worst.”
As well as the release of their debut album at the start of 2023,
Pure Adult are also preparing to release a collaborative EP with
Gustaf, Thank and Heavy Lungs in the Spring. They will support
Gilla Band on tour in the US early next year.
“Blown-out, hyperactive, aggressive, and danceable rock
informed by punk and post-punk.” - Brooklyn Vegan
“A furious piece of work” - Steve Lamacq, 6 Music