The collaboration between renowned drummer Jim White and acclaimed guitarist Marisa Anderson is a natural union of two of the most intuitive players and listeners working in music.

Jim White is known for his groundbreaking trio, Dirty Three, as well as duo Xylouris White. His list of collaborations is vast and includes artists such as Nick Cave, Bill Callahan, Cat Power, Marnie Stern and Warren Ellis. Jim just released his debut solo album, ‘All Hits: Memories’.

Marisa Anderson, known primarily for her solo work, in demand collaborator who has worked with Tashi Dorji, Sharon Van Etten, Yasmine Williams and Michael Hurley. She has released records with William Tyler and Tara Jane O’Neal.

White and Anderson are each highly sought after collaborators in no small part because of their mastery, versatility and highly expressive playing. Their sophomore album, ‘Swallowtail’, finds the duo completely attuned to each other, fluidly moving as wind and water. They avoid preconceived movements, instead focusing on their musical conversation. As Anderson puts it: “The ideas aren’t the music, they are the pathway into the musical possibilities.”

Their skilful interplay creates an effervescence throughout the album. The ebb and flow to the duo’s motions bring a sense of serenity and ease to spontaneous transitions, each swell and retraction sounding as free as it does inevitable. White and Anderson’s preternatural alchemy as a duo allows each fleeting gesture to feel featherlight and stirring while maintaining an inquisitive spirit. Their music is an enchanting and illuminating.

TRACK LISTING

1. Aerie
2. Bitterroot Valley Suite I: Water
3. Bitterroot Valley Suite II: Tree
4. Bitterroot Valley Suite III: Wind
5. Peregrine
6. Aurora

Death Songbook is an exquisite and unique collaboration between Suede’s Brett Anderson, Charles Hazlewood and Paraorchestra featuring special guests Nadine Shah and Gwenno.

The album features delicate new interpretations of iconic songs by the likes of Echo & The Bunnymen, Suede, Depeche Mode, Mercury Rev and Japan tackling themes of death, the death of love, anxiety, loss and transcendence.

Paraorchestra is the world's first large-scale virtuoso ensemble of professional disabled and non-disabled musicians.

The CD and LP packages feature beautiful photography from the original recordings at Wales Millennium Centre, Cardiff.

TRACK LISTING

1. The Killing Moon
2. Unsung
3. Holes (feat. Nadine Shah)
4. Nightporter
5. She Still Leads Me On
6. Wonderful Life
7. The Next Life
8. He's Dead
9. Enjoy The Silence (feat. Gwenno)
10. The End Of The World (feat. Nadine Shah)
11. My Death
12. Brutal Lover

The first full release in 15 years from Dave Anderson. One half of Otomi (lauded by Carl Craig, Recloose, Chateau Flight) and also responsible for the “Stronghold” EP on Ferox, “Downstairs Groove” sees Anderson bring his smelt of Detroit, Chicago and Glasgow right up to date with four diverse but cohesive tracks.

Ranging from minimal claustrophobic house of “Downstairs Groove” to dissociated spacey techno of “Distant Signal” on the A-side, then the B-side with the striking, melancholic strident house of “Edge Damage”, then closing with the bouncing elastic bassline of “Square Dance”.

200 copies, hand-stamped and hand-numbered.

TRACK LISTING

A1. Downstairs Groove
A2. Distant Signal
B1. Edge Damage
B2. Square Dance

Following the news that all three Lush albums are going to be reissued, Emma Anderson, the band’s co-founder, has announced her debut solo album, Pearlies, which will be released by Sonic Cathedral on October 20, 2023.One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life.

It arrives fully formed with a burnished beauty (aided by the mastering skills of Heba Kadry) that belies its somewhat protracted creation, which began with Emma feeling disillusioned after Lush’s 2016 reunion came to an abrupt end. Left with songs and bits of music originally intended for the band, she began working with cellist and string arranger Audrey Riley and Robin Guthrie, formerly of the Cocteau Twins, both of whom encouraged her to sing her own songs. Covid put a temporary halt on proceedings, but the decision had been made. When Sonic Cathedral introduced her to James Chapman at the start of 2022, Pearlies quickly took shape and blossomed into a masterpiece, the perfect mix of Emma’s incredible, idiosyncratic songwriting and James’ electronic production nous. Plus, a little extra guitar magic on four tracks courtesy of Richard Oakes from Suede.

The finished album has somehow written its own narrative. By her own admission, Emma tends to write words and “see what comes out”, but Pearlies seems to tell the story of her decision to go it alone, with opener ‘I Was Miles Away’ posing the question: “See if I make it on my own”. The rest of the album provides the answer as it takes in everything from the unexpectedly funky first single ‘Bend The Round’, to folky finger-picking and film theme references, via psych leaning electronic pop reminiscent of Goldfrapp or Melody’s Echo Chamber. It concludes with ‘Clusters’, a stunning, Stereolab-style groove which begins with the line “and now the party’s over, the music’s at the end”. Thankfully, that is not the case. This incredible album is just the start of Emma’s long-awaited solo journey.

STAFF COMMENTS

Barry says: Emma Anderson presents her first solo album for the wonderful Sonic Cathedral, showing hints of her history in Lush but with a vigour and airy carless ease we've not heard before. It's both wildly beautiful and unendingly deep, arguably her finest work of all (Sorry Lush). Brilliant musician, and a beautiful album.

TRACK LISTING

1. I Was Miles Away
2. Bend The Round
3. Inter Light
4. Taste The Air
5. Xanthe
6. The Presence
7. Willow And Mallow
8. Tonight Is Mine
9. For A Moment
10. Clusters

‘Still, Here’ emphatically makes the case for Marisa Anderson’s profound artistry, each piece intimately revealing a new aspect of Anderson as a player and as a human being navigating the path laid before her.

Marisa Anderson’s ‘Still, Here’ is for the listener an alchemical salve, the work of a gifted player with an exceptional ability to convey the complexities of the human experience through composition.

Marisa Anderson is one of the most eminent guitarists working today. Her lucid, eloquent approach to guitar music and composition has established her as an unparalleled artist and an insightful, coveted collaborator. Anderson’s work draws on a mosaic of folk musics and lives in conversation with myriad musical traditions.

“[Anderson] the solo guitarist creates truly borderless music, fusing the diverse global traditions she favors without drawing too much attention to the act of juxtaposition.” - Pitchfork

TRACK LISTING

In Dark Water
The Fire This Time
The Low Country
Night Air
Waking
The Crack Where The Light
Gets In
La Llorona
Beat The Drum Slowly

Five years after the release of 1989’s pop-oriented album Strange Angels, Laurie Anderson followed up with the avant-garde concept album Bright Red, a Brian Eno production exploring much darker territory. Eno also co-wrote four tracks; “The Puppet Motel”, “Muddy River”, “Poison” and “Tightrope”. For the recordings, Anderson was supported by Adrian Belew, who provided guitars on several tracks. Belew is best known as the lead vocalist and guitarist of King Crimson. During the time of the recording of Bright Red, Laurie Anderson and Lou Reed just started dating. They collaborated on a number of recordings together, including the duet “In Our Sleep”, that is featured on Bright Red.

Available on vinyl for the first time since its original CD-only release in 2007.

The closest of relationships gives its members space to expand, change, develop and play. Tenor saxophonist Fred Anderson and drummer Hamid Drake have just that kind of partnership, one that has seen them periodically move apart and work extensively on other fronts - Anderson tending to the recent relocation of his major jazz venue the Velvet Lounge; Drake in a dizzying array of globetrotting ensembles - but always returning to the fold, digging in together and checking out what’s been learned in the interim.

Over the course of some three decades, the master saxophonist and the prodigy percussionist have continued to reconfirm their commitment to their joint project.

TRACK LISTING

Planet E
Strut Time
For Brother Thompson
Sakti/Shiva
From The River To The Ocean

Led by drummer Jose Medeles (Breeders, 1939 Ensemble, Revival Drum Shop), Railroad Cadences & Melancholic Anthems is a drummer's tribute to guitarist and DIY iconoclast John Fahey.

Joined for a series of guitar and drum duets with M. Ward, experimental guitarist Marisa Anderson, and Chris Funk (Decemberists, Stephen Malkmus), it's a genuinely honorifc project, featuring not Fahey compositions, but rather a series of improvised rendezvous inspired and informed by his looseness and rhythmic idiosyncrasies. Recording in the comfortable setting of Bocce Recording in Vancouver, WA, in 2020, these duets are playful and spiritually deep, presented with snapshot clarity Medeles likens to the recordings of Alan Lomax or Chris Strachwitz, 'who boldly captured feld recording of Southern chain gangs and juke joint raconteurs decades ago. The result here is similar: pure and honest recordings.'

TRACK LISTING

Please Send To J.F. With Marisa Anderson
Richness Of Peace With M. Ward
Golden With Chris Funk
The Paper Snake With Marisa Anderson
Something Else With M. Ward
Before & After With Marisa Anderson
Juxtaposition With Chris Funk
Mid The Ice & Snow With Marisa Anderson
Illumination With Chris Funk
Takoma With Marisa Anderson
Voice Of The Turtle With Chris Funk

Most recently, Silk Sonic graced the cover of Rolling Stone’s September issue, where fans got an inside look at Mars and .Paak’s deep friendship and quest for the perfect “feel good” record. The duo coasted into the release of “Skate” on the wave of success from their debut single “Leave the Door Open,” which earned them Best Group at the 2021 BET Awards. It became the group’s first #1 single on the Billboard Hot 100, spending two non-consecutive weeks at #1 and 18 consecutive weeks in the top 10. They released the live version “Leave The Door Open (Live)” and serenaded audiences three times over at the GRAMMY® Awards, iHeartRadio Music Awards, and the BET Awards.

Silk Sonic introduced “Leave The Door Open” alongside an official music video directed by Mars and Florent Déchard with over 346 million views and counting. The track was followed by a hugely popular social media campaign, #LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. “What’s new, smooth as silk on the ears, and features two stars of R&B?” wrote Billboard, praising Silk Sonic as “a groovy duo” and the single as “lounge at its heart.” Consequence of Sound enthused, “Mars has a voice like a liquid whip, while .Paak raps and sings through a foggy haze. They sound like smoke on the water.”

ABOUT SILK SONIC:

The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.

Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 1.2 billion streams with over 346 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.

TRACK LISTING

1. Silk Sonic Intro
2. Leave The Door Open
3. Track 3
4. Track 4
5. Track 5
6. Track 6
7. Track 7
8. Skate
9. Track 9

Guitarists Marisa Anderson and William Tyler distil deeply rooted and varied traditions into distinctive voices all their own. Anderson and Tyler are each unyielding in their desire to extend through those traditions and the confines of ‘guitar music’ to craft music at once intimate and expansive, conversational and transcendent.

The duo’s debut collaborative album tethers together their singular voices into unified narratives that glisten, drive and sway. On ‘Lost Futures’, Anderson and Tyler’s guitars dance through lush arrangements and pastoral duets serpentine and reverent. 

‘Lost Futures’ takes its name from writer Mark Fisher’s cultural theory of the loss of potential futures, the hopes and ideals which once felt inevitable but have since been interrupted. Anderson and Tyler’s use of textural drones, rhythmic repetition and harmonic shifts embody the building tensions of uncertainty created by profound loss: loss of life, experience, companionship, compassion. Across ‘Lost Futures’, Anderson and Tyler mold their instruments into breathtaking panoramas of blight and bliss. Each movement contains a dense biome of transportive sound. 

The duo’s music together reckons with mounting pressures as well as the joy of newfound friendship and gratitude for being able to play together. In tandem, Marisa Anderson and William Tyler have composed a work of remarkable breadth, brimming with resplendent odes of solace.

Marisa Anderson and William Tyler are both prolific solo artists. Tyler has also toured with groups including Lambchop and Silver Jews and Marisa has contributed to recordings by Beth Ditto, Sharon Van Etten and Circuit Des Yeux among others. 

‘Lost Futures’ features guests Gisela Rodriguez Fernandez on violin and Patricia Vázquez Gómez playing quijada.

Package features artwork by Sam Smith. LPs include artworked inner-sleeve featuring photography by Marisa Anderson.

STAFF COMMENTS

Barry says: Both Marisa Anderson and William Tyler have impeccable form for crafting gorgeous acoustic guitar anthems, ranging from the beautiful simplicity of Anderson's plucked acoustic to Tyler's country-tinged Americana anthems, so I really couldn't imagine a better combination than the two of them. It works perfectly here with each artist's own voice coming through wonderfully while accentuating each-other perfectly.

TRACK LISTING

1. News About Heaven
2. Lost Futures
3. Pray For Rain
4. Something Will Come
5. At The Edge Of The World
6. Hurricane Light
7. Life And Casualty
8. Haunted By Water

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25th anniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I traveled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I was fascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization, shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

TRACK LISTING

Side A
1. From The Air
2. Big Science
3. Sweaters
4. Walking And Falling
5. Born, Never Asked

Side B
1. O Superman (for Massenet)
2. Example #22
3. Let X=X/It Tango

The Quickening is an improvised work guided by emotional intuition and an ability to spin collective experience into music of potent and boundless beauty.

Jim White and Marisa Anderson instrumental voices’ are unmistakable and spellbindingly lyrical. Anderson unravels global guitar traditions into atmospheres all their own through improvisations and transforming melodic lines. While White implements an array of sticks, brushes, and techniques that imbue each rhythmic percussion passage with its own distinct personality. Together their melodic flourishes cascade and twist upon one another, at times trading conversational exchanges, and at others drifting in unison as if lost in the same train of thought.

White and Anderson share an abounding appetite for musical exploration. White, as a member of Venom P Stinger, Dirty Three, and Xylouris White, is well known for his creative and idiosyncratic drumming. His singular abilities have also led to collaborations with Cat Power, PJ Harvey, and Bill Callahan among others.

Anderson’s prolific output as a solo performer, her mastery of traditional folk and blues forms and her abilities to make them entirely her own has established her as one of the most exciting and forward-thinking guitarists of the last decade.

White and Anderson’s considerable technical skills are used in the most inventive and unconventional manner on their debut duo recording, The Quickening. The duo’ friendship and shared explorative nature inform these warm and daring improvisations. Their remarkable performances take the listener on a journey of exuberant discovery.

The idea of a collaboration developed while on the road together in 2015, Anderson playing solo and White playing with Xylouris white. The Quickening began at the Portland studio Type Foundry in late 2018, where the duo initially agreed to meet and improvise and record. Happy with the recordings, the duo headed to Mexico City and into Estudios Noviembres, a time capsule of a studio from the 70’s that had been largely closed before some young engineers took it over. The “slight disorientation” of working in less familiar environments mirrored their willingness to plunge headfirst into exploring new sonic territory together. Anderson purchased a new nylon string Ramos-Castillo guitar from a Mexican luthier just ahead of recording which leant to the spontaneity of “The Lucky” and “The Quickening”. The duo did not rehearse or perform together prior to the recording sessions; as White puts it, “it’s good to suspend disbelief at this stage of playing.”

TRACK LISTING

Gathering
Unwritten
The Lucky
The Other Christmas
Song
Last Days
Diver
The Quickening
Pallet
18 To 1
November

In his relatively short career, the prolific Anderson .Paak has self-published over 100 songs to market. .Paak has acquired an impressive list of collaborations including acts such as Mac Miller, Chance the Rapper, Rapsody, A Tribe Called Quest, and his band The Free Nationals; a steady stream of requests to work with some of the industry’s most renowned artists, and an instant hit "Til It’s Over", heard in the Spike Jonze directed commercial 'Welcome Home' for Apple’s HomePod starring FKA Twigs. In 2018, his monster single "Bubblin" saw a Jimmy Kimmel Live! Performance and won him his first GRAMMY for Best Rap Performance in 2019.

.Paak also made his debut SNL appearance performing "Tints" as well as "Who R U?" off his recent album "Oxnard", his third LP and first on Dr. Dre’s Aftermath Entertainment. The album marked a career high for him debuting as the #1 Independent album in the US according to Billboard as well as debuting at #5 on the Rap chart, #6 on the hip-hop / R&B chart and #11 on the Top 200. The phenomenal album was executive produced by Dr. Dre and features the likes of hip-hop legends Kendrick Lamar, Snoop Dogg, J. Cole, Q-Tip, and Pusha T. Following the album’s release, .Paak has been on a sold-out tour in both the US and Europe, with fans anxious to see his energetic and captivating live performances.

Only five months after Oxnard’s release, Anderson .Paak’s latest project Ventura switches gears to soul from the grit and urgency that Oxnard brought acting as a juxtaposition to the two towns where .Paak grew up. Anderson explains:
'Growing up in Oxnard gave me the grit and the church to find this voice of mine. One town over I went further and found my depth. The duality of each place inspired me greatly and from that I made two albums at the exact same time but held one back because that would have been too many songs to perform live for you all! I like ending things on an even number so welcome to "Ventura".'

STAFF COMMENTS

Martin says: An absolutely killer new outing from senior .Paak here, brilliantly displaying a refracted rainbow of R&B influences, brought together with his forward thinking lyrical content and staggeringly effective rhythmic flow.

TRACK LISTING

1. Come Home (feat. André 3000)
2. Make It Better (feat. Smokey Robinson) 
3. Reachin' 2 Much (feat. Lalah Hathaway)
4. Winners Circle 
5. Good Heels (feat. Jazmine Sullivan)
6. Yada Yada
7. King James
8. Chosen One (feat. Sonyae Elise)
9. Jet Black (feat. Brandy)
10. Twilight
11. What Can We Do? (feat. Nate Dogg)

More than just a detail, the “.” in Aftermath’s Anderson .Paak’s name is a shot fired, putting the world on notice of an artist unlike anything the twenty-first century has ever seen. With a soulful essence harkening back to the iconic voices of the seventies, yet embodying a raw uniqueness fully present in the now, the acclaimed singer/rapper/drummer/producer has successfully alchemized a cross-section of musical styles – R&B, hip-hop, and dance – into a solid, undeniable, irresistible “genre-less sound.” A rabid worldwide fan base, praise from critics at outlets including Rolling Stone, Billboard, New York Times, and Pitchfork, and electrifying appearances on talk shows including Ellen, The Late Show with Stephen Colbert, The Tonight Show Starring Jimmy Fallon and at festivals around the globe have all cemented .Paak’s place as one of the most premier artists on the music scene today.
 
Born Brandon Paak Anderson in Oxnard, California, his extraordinary talent was fully realized under the name Anderson .Paak with his debut Venice and a stellar six-song run on Dr. Dre’s certified Gold COMPTON album, culminating in the perfect storm of his sophomore release, 2016’s Malibu. A seamless tsunami of soul-stirring, body-shaking, infectious and deeply-personal songs with features by artists such as ScHoolboy Q, The Game, Talib Kweli and power producers including 9th Wonder, Robert Glasper, Kaytranada and more, Malibu was met with universal rave reviews, major nominations, including Best New Artist and Best Urban Contemporary Album Grammy nods, and a hail of award wins. In late 2016, .Paak and producer Knxwledge – as the duo NxWorries - released the album Yes Lawd!, reaching #3 on Billboard’s Top R&B/Hip-Hop chart.

With impressive collaborations with acts such as Mac Miller (whose song Dang! featuring .Paak was certified Gold), a stream of requests to work with renowned artists, and instantly recognizable hits in national ad campaigns, popular television shows, and on the big screen, .Paak is now ready for his next major move with the release of his highly-anticipated first album on Dr. Dre’s Aftermath label.

The world can hardly wait...

TRACK LISTING

1. The Chase (feat. Kadhja Bonet)
2. Headlow (feat. Norelle)
3. Tints (feat. Kendrick Lamar)
4. Who R U?
5. 6 Summers
6. Saviers Road
7. Smile/Petty
8. Mansa Musa (feat. Dr. Dre & Cocoa Sarai)
9. Brother's Keeper (feat. Pusha T)
10. Anywhere (feat. Snoop Dogg & The Last Artful, Dodgr)
11. Trippy (feat. J. Cole)
12. Cheers (feat. Q-Tip)
13. Sweet Chick (feat. BJ The Chicago Kid)
14. Left To Right

Yes Lawd! Remixes, is a new reworking of the critically acclaimed debut album from NxWorries. Knxwledge continues a Stones Throw tradition started by Madlib, by remixing his own album, adding a new interpretation to the tracks featuring Anderson .Paak’s vocals. “Two artists working at the absolute height of their talents” – Pitchfork “One of the best albums of 2016” – Complex “Yes Lawd! is an album that feels alive, a living and breathing object that nods to the past while staying in the present” - The FADER “The inspired combo of Paak’s soulful rasp and Knxwledge’s cratedigging sample...makes this album something special in a year that’s already filled with strong R&B LPs”

TRACK LISTING

1. Alltype
2. Livvin
3. Wngs
4. Best 1
5. Kutless
6. Lyk Dis
7. Idntrembrwell
8. HAN
9. $cared
10. Best 2
11. Suede
12. Reali(the)nd

This new album by the rap / hip-hop / nu-soul wunderkind Anderson .Paak. It features production from 9th Wonder, DJ Khalil, Madlib, Kaytranada, Pomo, Dem Jointz, Callum Conner, Hi-Tek, Anderson .Paak and The FreeNationals. Featured vocalists include ScHoolboy Q, Talib Kweli, BJ The Chicago Kid, Rhapsody and The Game.

This is the second album by rap's newest sensation, who has been tipped for big things since featuring on 6 tracks on 'Compton' by Dr Dre earlier in 2015. 'Malibu' is the maturation of .Paak's journey from soul and R&B over into hip-hop and even soulful house / disco, all the while giving listeners a deep look into his personal experience.

First focus song, the disco funky 'Am I Wrong', has already picked up 30+ plays on Radio 1/1Xtra since mid-November, including a Jam Hot 'Record of the Week' slot from Mistajam. 'Am In Wrong' and the soulful confessional 'The Season/Carry Me' (premiered by Dr Dre on his Beats1 show) have racked up 350K plays each on Soundcloud since mid-November.

TRACK LISTING

1 The Bird 3:38
2 Heart Don't Stand A Chance 5:12
3 The Waters (feat. BJ The Chicago Kid) 2:54
4 The Season | Carry Me 5:29
5 Put Me Thru 2:41
6 Am I Wrong (feat. ScHoolboy Q) 4:14
7 Without You (feat. Rapsody) 3:19
8 Parking Lot 3:54
9 Light Weight (feat. The Free Nationals United Fellowship Choir) 3:26
10 Room In Here (feat. The Game) 3:59
11 Water Fall (Interluuube) 1:58
12 Your Prime 3:57
13 Come Down 2:57
14 Silicon Valley 4:05
15 Celebrate 3:46
16 The Dreamer (feat. Talib Kweli & Timan Family Choir) 5:40

Moskenstraumen, Christopher William Anderson’s first and only release under his own name, sees him saying goodbye to the electric guitar as the instrument of choice for solo compositions.

The tracks were crafted using a Gretsch Duo Jet and numerous tape and digital delays/loopers into something far removed from the sound of the source.

Originally self-released 3 years ago almost to the day and sold in painstakingly produced hand crafted packaging only a few were lucky enough to grab a copy. Now we are incredibly privileged to help "Moskenstraumen" see the light of day again amongst the increasing ranks of Sacred Tapes releases.

Written and recorded by Christopher Anderson between 2009-11

TRACK LISTING

An End To Calm
Blood & Salt
Moskenstraumen
Eye
The Last Refracted Light

With six officially released albums, two more in the can, four probably-never-to-see-the-light-of-day records in his closet, a few live albums on the shelf and a Myspace song-a-day project, the quietly prolific Jason Anderson returns to K with "The Hopeful And The Unafraid". While he also played guitar in Mount Eerie, has drummed with Tilly And The Wall, and played piano with David Dondero, you've probably heard little about him. "The Hopeful.." was made at Soma Studios in Chicago, on a two-day tour break in January of 2006. Recorded in a matter of hours-tracking the vocals, guitars, and drums simultaneously-Jason's goal was to make an organic documentation of songs he'd been playing every night for half a decade. Thusly, all the vocal parts are first takes. There were some indulgences, though, as some guys who used to play in Magnolia Electric Co. came by to put down pedal steel and guitar leads. The album takes a stab at capturing some of the energy Jason loves putting into every show he plays, whether there are five or fifty people present.

This is Omar Rodriguez' (The Mars Volta) second solo album and the first one exclusively for Europe. This album was recorded in Amsterdam, The Netherlands in early June 2005. Most of the overdubs and mixing were done on the road in September 2005. Besides Omar Rodriguez other members of The Mars Volta play on this record as well. Musically it is everything and more you can aspect from Rodriguez, very freaky like Miles Davis' "Bitches Brew". Interesting, funky, groovy - hearing is believing.