THIS IS A BLACK FRIDAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 24TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 25TH).

Varèse Sarabande released 7 tracks (20 minutes) from Blood Simple on a 1987 soundtrack album to coincide with Raising Arizona. Now, 40 years after its 1983 recording, Carter Burwell has produced a new mix and album of Blood Simple, featuring 13 tracks and 35 minutes from the original multitrack session tapes. Daniel Schweiger’s detailed liner notes recount the genesis of the project and the unforgettable Coens–Burwell partnership.

THIS IS A BLACK FRIDAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 24TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 25TH).


On July 20, 1993, Los Angeles hip-hop legends Cypress Hill unleashed their sophomore opus, Black Sunday, on the unsuspecting masses. The record changed rap music with its dark undercurrent, Latin inflection, no holds-barred storytelling, and the inimitable interplay between B-Real and Sen Dog cast over psychedelically spun rap soundscapes courtesy of DJ Muggs. Now to mark the 30th anniversary, two new remixes are available for fans on 12” black vinyl; “Insane in the Brain” from the esteemed DJ/Producer Statik Selektah, and “Hits From The Bong” crafted by the album’s original producer himself, DJ Muggs.

TRACK LISTING

1. Insane In The Brain [Statik Selektah Remix]
2. Hits From The Bong [DJ Muggs 2023 Remix]

New York City by way of Miami, Alex Suarez delivers his debut lp the eight track "Autogolpe" for L.I.E.S. Autogolpe, is a term for military coup initiated by a dictator to take control of an existing government and Suarez uses this loose idea to create the range of emotions associated with said act. Musically he expands on his prior releases for Bank and Primitive Languages as heavy industrialized sonic beatings sit next to somber passages; oil drum slow beat tribal clangers provide a back drop for screams shooting out of the dark. Musically it paints a distorted picture of world in decline, an exile from another land and arrivial to anothers in chaos or the clinging hope of something better on the other side.

STAFF COMMENTS

Patrick says: Gloomy and dystopic, Alex Suarez' debut LP muses on military coups, offering hissing ambient pieces, abrasive industrial workouts and polyrhythmic techno snarlers over the course of eight impactful tracks.

TRACK LISTING

1. American Motels 
2. Encantada 
3. Opened Cell 
4. The Mountains Are Crying 
5. The Seventh Sister 
6. Simbiotico 
7. False Prophets 
8. Disgust 

Chicago's Justin Aulis Long and Ken Zawacki return to L.I.E.S. with their second ep under their Circling Vultures moniker. On this offering we get four tracks of tough yet psychedelic machine music. From slow bpm beaters to metal on metal floor cuts, these are executed with precision to do maximum damage whenever played. Sinking their teeth in and never letting go, looming over and waiting for the right moment to strike...tense music for the end times! Another killer from these seasoned club vets.

STAFF COMMENTS

Sil says: You know what you are getting with this label so no need to hammer it home. Hardcore, eerie, end of the world kind of soundtrack for the times (probably not far away) when the social contract breaks for good and we all have to fend for ourselves. Only the strong survives and all that jazz. As long as you have your music player of choice properly charged and able to pump these tracks at high volume, just sit and contemplate the wonders of human chaos. Wonderful stuff and LIES will be there with you.

TRACK LISTING

1. Game Of Change
2. Cut With The Kitchen Knife
3. The Age Of Revolt
4. Suicided By Society

Mesh-Key treats the open minded listener with a lavish, limited edition run of this heretofore unheard collaboration, finally seeing the light of day 15 years after its recording. Acoustic instrumentation and synthesizers meet Mukai’s haunting voice for four sparse, minimalistic compositions unlike anything in either artists’ previous output.
Chie Mukai is a composer and musician from Osaka, Japan, best known for her underground improv-folk group Ché-SHIZU (PSF), which she founded in 1981. In addition to her song-based work, Mukai has been an active improviser since 1975, when she joined the East Bionic Symphonia group under the leadership of Fluxus violinist-composer Takehisa Kosugi at the Biggako Art School of Tokyo. She has since collaborated with Keiji Haino, John Duncan, Agata Morio and many others. Her primary instrument is the bowed Chinese er-hu, but she also plays piano and percussion.

TRACK LISTING

1. Sugita Hi No
2. Hi Tsuki
3. Nami No Hate
4. Untitled 

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Candy Bowman's one and only solo 12" from back in '81, housing a funk flavoured, dancefloor disco triumph and a slice of mid tempo R&B smoothness. Remastered

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Exclusively for Record Store Day 2019 Demon Records revisits Chas & Dave’s classic ode to the Kent seaside town of Margate. This 7” shaped picture disc revisits the classic postcard design of the 1982 single and expands on the original tracklist with the additions of ‘That’s What I Like’, and the previously unreleased Only Fools & Horses Jolly Boys’ Outing version of Margate. Previously only heard as the end credits to the Classic Only Fools & Horses episode ‘The Jolly Boys’ Outing’ and features vocal appearances from Del Boy & Rodney.

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Le Freak was Chic’s third single and their first single to hit #1 on the Billboard Top 100 in the US. It went on to become Atlantic Records' biggest selling single. It also garnered international success charting at #1 in Australia, Canada, New Zealand & South Africa. And in the top #10 in Austria, Belgium, France, Germany, Italy, Netherlands, Norway, Sweden, Switzerland and the United Kingdom. To celebrate the 40th anniversary year we will release a 12” featuring the 2018 Oliver Helden Remix (on vinyl for the first time) and the 1978 original 12” vocal mix. On standard 12” black vinyl, in an Atlantic sleeve.

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Factory Benelux presents a remastered edition of The Plateau Phase, the debut by Manchester postpunk group Crispy Ambulance. Originally issued by Factory Benelux in March 1982, the album is now reissued in a strictly limited edition of 500 copies in clear vinyl for Record Store Day on 13 April 2019. (NON-RETURNABLE) Recorded at Strawberry 2 with producer Chris Nagle, the album captured Crispy Ambulance at the peak of their creative powers.   “When we started discussing the track selection for this new vinyl edition,” says singer Alan Hempsall, “it struck me that the songs which made the cut were all written and recorded within a very short space of time. July 1980 to September 1981 marked an intensive period of creativity informed by the new music we were being exposed to, and films we’d seen around that time: Eraserhead, Scorpio Rising, Apocalypse Now, Warhol’s Dracula and Argento’s Suspiria all played a part. We became curious about what would result from a partial breaking away from traditional song structures and experimenting with the concept of soundtrack and incidental music. Film music looking for a film, so to speak.” Bonus tracks on the second disc include lauded 12” single The Presence and Concorde Square, produced by the legendary Martin Hannett at Pink Floyd’s Britannia Row studio, as well as the group’s powerful John Peel session from January 1981. Sleeve art by Benoit Hennebert. Inner gatefold portrait by Harry Papadopoulos. New liner notes by Alan Hempsall. Tracklist: A1. Are You Ready? A2. Travel Time A3. The Force and the Wisdom A4. The Wind Season A5. Death From Above B1. We Move Through the Plateau Phase B2. Bardo Plane B3. Chill B4. Federation B5. Simon’s Ghost C1. The Presence C2. Concorde Square D1. Come On D2. Drug User-Drug Pusher D3. October 31st D4. Egypt

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Making R&B neo-soul and sitting amongst Britainís world beating alternative black music scene Chrissi is a bright new talent in pop, combining the witty and emotive lyricism of Winehouse, with the avant-garde production style of Solange and the cultural potency of Jorja Smith. With a voice designed to reveal meaningful tales, Chrissiís debut EP "Back In The Day" is a kaleidoscopic exploration of the pleasures and pains of modern love which Chrissi wishes to share with the world. Where some might wallow in their emotional scars, Chrissi is content to take power in self-examination and the regenerative bliss following heartbreak, inhabiting a narrative where womenís voices are dominant. 1x 10" black vinyl.

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Not long before recording his first songs for Bright Eyes, 14-year-old singer-songwriter Conor Oberst co-founded Commander Venus alongside bassist (and future Cursive frontman) Tim Kasher, guitarist Robb Nansel (now president of Saddle Creek Records), and drummer Matt Bowen (who would soon join the Faint and be replaced by Ben Armstrong). After releasing their 1995 debut, Do You Feel at Home?, the Omaha indie rockers caught the attention of Wind-up Records, who backed the groupís sophomore album, The Uneventful Vacation. While The Uneventful Vacation marked the musiciansí final record together, before they each embarked on their next ventures, this formative album has since become a cult favorite in the í90s emo canon. To celebrate the 25th anniversary of the album, this reissue features red and black smoke vinyl and all-analog mastering from the original tapes by Kevin Gray at Cohearant Audio. Limited to 4,600 units worldwide, this edition also includes the bonus track "Congratulations!", which appeared on the original vinyl release.

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"It Takes A Thief" is the debut studio album by Coolio. Originally released in 1994, the album contains the song "Fantastic Voyage" which peaked at #2 on the Billboard100 chart. The album was certified platinum and received praise for bringing a humorous and lighthearted perspective to often violent and profane themes of typical gangsta rap.

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Carter The Unstoppable Sex Machine exploded onto the indie punk scene in the early '90 releasing a string of hit singles and top ten albums as well as selling out countless live shows acquiring a fiercely loyal fanbase

30 Something was Carter's second album. Released in February 1991, it charted at number 8 in the UK album charts and spawned the singles 'Anytime Anyplace Anywhere' and 'Bloodsport For All' With nods to The Clash and Bowie, the album contained the band's trademark lyrical puns and snarling punk vocals juxtaposing with harmonisng guitars. The album received 10/10 from NME upon release and ranked as number 8 on their albums of the year list for 1991.

This RSD version is presented as a picture disc in a cut out spined sleeve.

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Lovingly re issued on double vinyl for the first time since 1998. Come's final chapter sees Thalia Zedek and Chris Brokaw at their peak, refining their incredible blend of dissonant blues and cathartic noise-rock heightened by the intricate guitar dual-play and the added melody that permeates the songwriting. Includes full album download and new liner notes.

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A 7-track digital EP released in the back-end of 2022 is released on a 12" for the first time. Featuring 'TILT' reworks from Tame Impala, CC:DISCO!, X-COAST, Daniel Avery, CHAI and Erol Alkan. 'TILT' is the much-loved and acclaimed second album from Confidence Man which came out on Heavenly Recordings in April 2022. Written and self-produced by the band and mixed by Ewan Pearson (Metronomy, Jagwar Ma, Pet Shop Boys, Jessie Ware), the release of 'RE-TILT' follows the band's sold out 2022 headline tour. Starts and lands in time for the summer festival season. 

TRACK LISTING

1.1 Holiday (Tame Impala Remix)
1.2 Luvin U Is Easy (Totally Enormous Extinct Dinosaurs Remix)
1.3 Relieve The Pressure (X-COAST Remix)
1.4 Angry Girl (CHAI Version)
2.1 Break It Bought It (CC:DISCO! Dub Mix)
2.2 Feels Like A Different Thing (Daniel Avery Remix)
2.3 Holiday (Erol Alkan OOO Rework)

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 22ND ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 24TH).


This vinyl debut captures one of the biggest names in jazz, at the peak of his powers, live in concert

This 180-gram double set features 18 selections from Charlie Parker, one of jazz's greatest saxophonists. All the recordings were captured in the late 1940s and early '50s at such storied venues as Carnegie Hall and Birdland in New York, The Jubilee in Los Angeles, and the Portland Civic Auditorium. Focused on experiments in Afro-Cuban fusion, Parker is joined by a dazzling array of jazz legends including Dizzy Gillespie, Milt Jackson, Art Blakey, Woody Herman, Stan Kenton, Red Rodney, and others. The track listing matches the cast of musicians; classics 'Cherokee' and 'A Night in Tunisia' are captured in pristine form, while maintaining the intimate jazz spontaneity of Parker's best recordings. The package includes an essay by rock keyboardist Keith Emerson. While these tracks have previously appeared on other albums, this is the first time they have been gathered in this package on double 180-gram vinyl.

THIS IS A RECORD STORE DAY 2023 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Caitlin Rose releases a special limited 7" Vinyl for Record Store Day 2023. The 500 unit Limited 'Cherry Red' Coloured 7" release features two exclusive tracks recorded during the sessions for Caitlinís new critically acclaimed album 'CAZIMI'. New Track 'Johnny Velvet' and the demo version of 'Carried Away (Demo)í will be available for fans for the first time as exclusive to this 7" release.

Charlie Coxedge is a musician and writer from Manchester, best known as a member of MONEY. As a solo musician, his compositions weave layers and loops of guitars, synth textures and soft pianos, building from melodic, ambient noises to multi-faceted soundscapes.

 Cloisters, as the title suggests, is about finding those secluded spaces, those empty archways where we hear the echoes of ourselves, and finding some peace within the solitude.  As so often happens in these empty spaces, thoughts enter and start to repeat themselves in our minds, bouncing off the walls until a new thought joins in, until all these different ideas are intertwined with each other, playing out in an almost endless cycle.

The music of Cloisters comes from these spaces, from moments of solitude found in childhood homes, walks through the city or even in memories - remembered spaces that invoke a certain feeling or atmosphere.

Recorded mostly in two different studios in Liverpool, with some bedroom recordings thrown in for good measure, everything on Cloisters was performed by Coxedge, simply using the studios to effectively capture the many layers and textures.  The sounds of the record, and the layers that build them, are as much about the spaces they create as the spaces they fill.  

'I’ve always been a bit of a collector of effects pedals, and have used them subtly within MONEY to enhance our sound, both on record and live – making loops, drones etc – but with this solo work I really get to expand on that, and a lot of the music comes from playing around with different sounds.'

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments; instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

Tax Free keep us well furnished with weirdness thanks to this long player of  digital renaissance & romantic ambient by ccctyyy with contributions by isangyi. Tumbling out the stereo like a vaporwave fever dream after one too many xans, "Reappearance" offers misty digital ambience and whacked out drum machine jams reminding me of Visible Cloaks and Tala Drum Corps simultaneously - which is totally Tax Free if you think about it.

TRACK LISTING

A1. C_RA_001
A2. INA GRM_RA
A3. TW
A4. HORIZONplus
A5. S_((((
B1. I_COO)))
B2. MMMM (feat Isangyi)
B3. J_T((
B4. CGO
B5. OI_I_O_OI (feat Isangyi)

Where's Pharoah Brunson when you need him? Hang on, I'll just drop this sophisticated funk bomb on the player and wait for the inevitable roar of "BOOOOOOOOOOOOOOGGGGGGGGGIIIIEEEE"! Dreamt up in 1982 by two best friends at a disco in Dallas and then released in 1984, Chazz’s "Sassy Style" has everything to please funk aficionados; stellar arrangement, catchy refrain and slick synth-topped groove. There's mad electronics, brilliant adlibs and an utterly optimistic attitude on show - presumably the cause of Discogs seller NEJDAO's speculative £1,200 listing! With Red Greg’s 45 edit on the B side, Reach Out reissuing this gem is more than a gift to record lovers! Pressed with love by Mother Tongue in Italy, it will be the best homage we can have to uphold their legacy in music.

TRACK LISTING

A. Sassy Style (Original Mix)
B. Sassy Style (45 Edit By Red Greg)

Unique recording of this unique constellation of musicians. Featuring pianist Chris Abrahams of cult jazz band THE NECKS, guitar and experimental maverick Oren Ambarchi, and percussion experimentalist Robbie Avenaim.

Polymath Oren Ambarchi has a celebrated release career with a devoted new music following, his last solo album “Schebang” on Drag City ended on many 2022 top ten lists including The Wire, along with being listed in Pitchfork 50 Best Albums of the year.

Following nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents Placelessness, the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music.

Having carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia’s thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 together during the late 1980s, not long after having met in Sydney’s underground music community. The pair’s collaborations date back more than 35 years, criss-crossing Ambarchi’s pioneering solo and ensemble work for guitar and Avenaim’s visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit.

In 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio’s efforts in recorded form.

Placelessness is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album’s two sides draw on each artist’s enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP.

Beginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams’ interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work’s duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble’s members contribute to an increasingly tangled sense of density at its resolve.

While an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams’ launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim’s machine gun fire percussion work and Ambarchi’s masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work’s inner logic and calm.

What could easily be termed a maximalist take on Minimalism, Placelessness is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim’s decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it’s two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms.

TRACK LISTING

01 Placelessness I 18:28
02 Placelessness II 20:42

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, via Soulwax’s iconic label DEEWEE.

Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

TRACK LISTING

Bel Deewee
Esperanto
Blenda
Hey
It Hit Me
Ich Mwen (with Christiane Adigéry)
Reappropriate
Ceci N'est Pas Un Cliché
Huile Smisse
Mantra
Making Sense Stop
Haha
Thank You

Following on from the runaway success of Soundway's release of Kiki Gyan's '24 Hours In A Disco', another Ghanaian legend looks to have his time to shine.

One of the most well-known disco and burger highlife artists of the time, Charles Amoah originally began his career as a drummer. Playing with Alex Konadu's band, as well as the likes of Precious Jewels and Nana Tuffour, he then moved to Germany in the early 80s.

His first album 'Sweet Vibration' spawned several hits which went on to be released as separate singles, namely "Scratch My Back" and "Shake Your Body To The Beat".

From the irresistible funk hooks of these singles, to the Lionel Richie-esque instrumentation of "Life's Like Being In A Boxing Ring", or the kraut-rock stylings of "Jungle Rock" - there is little doubt that the blend of disco, funk and highlife that was unique to the Ghanaian-German scene can be experienced in its full splendour on 'Sweet Vibration'.

TRACK LISTING

Shake Your Body To The Beat
Fighting Spirit
Sweet Vibration
Shake Your Body To The Beat (Long Version)
Scratch My Back
Life's Like Being In A Boxing Ring
Jungle Rock
Our Love's On Fire

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

After a decade spent at the height of the music industry, touring solo and with large pop bands, Courtney Marie Andrews has realised her desire for a place to come home to. She found that in a small rural town in the deep forests of Washington. There, she posted up at a local bar, slinging drinks, basking in the simplicity and reflection it allowed. She has emerged with a new fire on Honest Life, melding indie-folk and Americana with a rebellious country flavour reminiscent of her Southwestern roots.

Honest Life is the culmination of Andrews' life on the road, absorbing the stories, traditions and heartbreaks along the way. The songs on Honest Life touch on personal coming-of-age stories ("Rookie Dreaming"), the stunning beauty of resiliency ("How Quickly Your Heart Mends"), take-no-shit self-determination anthems ("Irene"), and thoughts on how to accept emotions like loneliness and vulnerability in your life ("Table for One"). Andrews' heart-wrenching songwriting and crystal-clear vocal style are as captivating as they are invigorating. It's no wonder Ryan Adams called Andrews "a phenomenal songwriter." True to her own vision, Andrews produced the entire record herself and recorded it at Litho Studios in Seattle with recording engineer Floyd Reitsma, whose recent credits include Noah Gundersen and Pearl Jam.

STAFF COMMENTS

Barry says: A beautifully rendered and heartfelt collection of Americana anthems and soulful country, all topped by Andrews' powerful and immensely emotive voice. Pristinely produced, relentlessly melodic and irresistibly enduring.

TRACK LISTING

1. Rookie Dreaming
2. Not The End
3. Irene
4. How Quickly Your Heart Mends
5. Let The Good One Go
6. Honest Life
7. Table For One
8. Put The Fire Out
9. 15 Highway Lines
10. Only In My Mind

Produced by Sam Evian. Following Old Flowers' 2020 Grammy nomination, and due to Covid restrictions, Courtney, for the first time in her young nomadic life, was forced off the road and to remain at home. What resulted was the publishing of her first book of poetry, the first gallery showings of her paintings, and a period of self-discovery leading to the new album, Loose Future.

Whereas Old Flowers was a beautiful and emotional break-up record, CMA's return with Loose Future is a bright, dynamic, falling-in-love record. Courtney's got a new story to tell, backed by a strong new musical direction, and a show-stopping collection of songs. Loose Future was recorded at Sam Owen's upstate New York Flying Cloud Studios, with musicians Josh Kaufman (Bonny Lighthorseman), Chris Bear (Grizzly Bear), and Sam Owens (Sam Evian).

On the honey shores of Cape Cod in a beach shack, Courtney Marie Andrews found self-love and her voice. Every morning, she’d walk 6-8 miles around the back trails of an island and meditate on her life, perusing old memories and patterns like browsing a used bookshop. After more than a decade on the road, the Phoenix-born songwriter, poet, and painter finally had the space to process all the highs and lows of a life of constants. She was finally ready to make a record of triumph, while not completely forgetting the years that made her. That record is the Sam Evian produced Loose Future.

TRACK LISTING

1. Loose Future
2. Older Now
3. On The Line
4. Satellite
5. These Are The Good Old Days
6. Thinkin' On You
7. You Do What You Want
8. Let Her Go
9. Change My Mind
10. Me & Jerry

The highly anticipated follow up to Courtney Marie Andrews' critically acclaimed 2017 breakthrough album, Honest Life.
Courtney Marie Andrews’ new full-length album, May Your Kindness Remain, will be released March 23 on Loose in the UK & Europe and Fat Possum Records/Mama Bird Recording Co. in the USA. In advance of the release, the album’s title track is premiered as part of NPR Music’s “Songs We Love” series.
Produced by Mark Howard (Lucinda Williams, Bob Dylan, Emmylou Harris, Tom Waits), the album was recorded over eight days at a rented house-turned-studio in L.A.
UK fans fell for Courtney’s breakthrough album Honest Life last year, when as the BBC put it, she became an “overnight success” after 10 years trying to break into the business. UK media such as The Guardian, Daily Telegraph and Sunday Times compared her music to the work of classic artists such as Guy Clark, John Prine, Joni Mitchell, Emmylou Harris, Linda Ronstadt and Glen Campbell alongside modern references such as Laura Marling and Julie Byrne. The album became one of the biggest breakthrough records of 2017 in the UK, with 4-5 star reviews from publications including Daily Telegraph, Uncut, Mojo and Q Magazine, as well as reaching #1 on the Official U.K. Americana Chart Independent Album Breakers Chart. In April 2017, Andrews made her debut on the BBC’s legendary “Later…With Jools Holland” programme.

STAFF COMMENTS

Barry says: A beautiful mix of deep Americana, new country and the forward thrust of todays melodic indie, Courtney Marie Andrews has not failed to impress yet, and 'May Your Kindness...' is no different. Stunning.

TRACK LISTING

1. May Your Kindness Remain
2. Lift The Lonely From My Heart
3. Two Cold Nights In Buffalo
4. Rough Around The Edges
5. Border
6. Took You Up
7. This House
8. Kindness Of Strangers
9. I’ve Hurt Worse
10. Long Road Back To You

On her 3rd album for both Fat Possum and Loose Records, Courtney Marie Andrews has seemingly pulled in to one package all the songwriting skill, vocal prowess, and musicianship displayed on previous albums, into one career defining statement. A break-up record for sure, though due to CMA's extraordinary storytelling gifts, more of a modern day coming-of-age tale of love won, love sustained, and unfortunately, love's inevitable dissolution.

STAFF COMMENTS

Barry says: A bittersweet and majestic collection of heartfelt ballads and more upbeat, jangling pieces all rendered in Andrews' typically effervescent and emotive style. Slide guitars, rich acoustics and those unmistakable vocals. Gorgeous.

TRACK LISTING

1. Burlap String 03:57
2. Guilty
3. If I Told 04:58
4. Together Or Alone
5. Carnival Dream
6. Old Flowers
7. Break The Spell
8. It Must Be Someone Else's Fault 03:18
9. How You Get Hurt 04:24
10. Ships In The Night

Re-issue of Courtney's debut album.

For a decade or so since Courtney’s been a session and backup singer and guitarist for nearly 40 artists – from Jimmy Eat World to Damien Jurado - but she never stopped writing her own material. With plans to settle down for a bit and focus on her own songs, Courtney moved to Seattle in 2011 and recorded her last full-length record On My Page. However, the record had hardly been released before she was on the road again performing other artists’ songs, eventually leading her overseas to play guitar and sing with Belgian star Milow. It was during this time that Courtney also wrote many of the songs on Honest Life.

TRACK LISTING

1. Woman Of Many Colors
2. This Time
3. It Keeps Going
4. Blue Woman
5. Haven't Seen It
6. 500 Nights
7. Fall City
8. Paintings From Michael
9. On My Page
10. Left-Handed Angel

Re-issue of Courtney's debut album.

For a decade or so since Courtney’s been a session and backup singer and guitarist for nearly 40 artists – from Jimmy Eat World to Damien Jurado - but she never stopped writing her own material. With plans to settle down for a bit and focus on her own songs, Courtney moved to Seattle in 2011 and recorded her last full-length record On My Page. However, the record had hardly been released before she was on the road again performing other artists’ songs, eventually leading her overseas to play guitar and sing with Belgian star Milow. It was during this time that Courtney also wrote many of the songs on Honest Life.

TRACK LISTING

1. Woman Of Many Colors
2. This Time
3. It Keeps Going
4. Blue Woman
5. Haven't Seen It
6. 500 Nights
7. Fall City
8. Paintings From Michael
9. On My Page
10. Left-Handed Angel

Award-winning Scottish composer Craig Armstrong’s trailblazing 2002 album ‘As If To Nothing’ receives 20th anniversary first-ever vinyl release on Hydrogen Dukebox.

Twenty years on from its original release, Craig Armstrong’s ‘As If To Nothing’ - his electronic/orchestral masterpiece featuring musical heavyweights Bono, Mogwai, Evan Dando, King Crimson and others - is being reissued for the first time on vinyl in a super-deluxe, super-limited edition run via Hydrogen Dukebox.

Remastered at Abbey Road Studios and cut at half-speed to produce a superior sound quality, the release comes completely repackaged with reimagined artwork by award-winning designer Christopher Thomson and there's also a special 'Dinked Archive Edition' version limited to just 500 copies worldwide including a bonus 10" of a newly unearthed track from the original recording sessions.

‘As If To Nothing’, Armstrong’s second solo album following 1998’s ‘The Space Between Us’, is a timeless, groundbreaking record that marries stunning string arrangements, atmospheric electronics and contemporary popular music.

Originally released on renowned UK electronic outfit Massive Attack's label Melankolic, the record captures an enduring mood and sentiment that continues to enchant listeners today, from the stirring opener ‘Ruthless Gravity’ to the euphoric closing of ‘Choral Ending’. Armstrong’s collaborative work with Massive Attack on the 1994 album ‘Protection’ is an influence that can be heard throughout ‘As If To Nothing’:
“It was a very particular time musically within Britain, and the world”, he says. “To be part of the label, Melankolic, and working with Massive Attack, was a unique moment in time. They gave me real freedom to do what I wanted. The album was ahead of its time, I think - it still sounds pure and contemporary.”
“A lot of younger acts have contacted me over the years to say how seminal the album has been to them. One of the great things is that people have never stopped listening to the album. To have it reissued and released on this first-ever vinyl package is a very special thing to me.”

The album features a cast of luminaries including Bono on ‘Stay (Farway, So Close!’), Mogwai on ‘Miracle’ and Lemonheads’ Evan Dando ‘Wake Up In New York’, as well as producer Photek, soul singer David McAlmont, Alpha vocalist Wendy Stubbs, and Antye Greie-Fuchs, and a sample of King Crimson’s ‘Starless’ on ‘Starless II’. Praise for the album at the time of its release included Pitchfork ("Powerfully evocative and serene") and Rolling Stone ("[Armstrong] makes Bono sound like a fallen angel on a majestic remake of "Stay (Faraway, So Close!)".

Through his orchestral writing, electronic compositions and wide-ranging artistic collaborations in classical and film music, Craig Armstrong’s work has received worldwide acclaim. Armstrong is widely known for composing award winning film music, having scored both Hollywood and independent films, from Peter Mullan’s directorial debut 'The Close Trilogy' to the BAFTA, Ivor Novello and Golden Globe-winning award scores for Baz Luhrmann’s 'Romeo and Juliet', 'Moulin Rouge!' and 'The Great Gatsby'.

His film scoring has also featured in many other popular films including 'The Quiet American', 'Orphans', 'Love Actually', 'World Trade Centre', 'Elizabeth: The Golden Age', 'Far From The Madding Crowd', and 'Ray!', with the latter awarded a Grammy for Best Original Score. And several collaborations with Oliver Stone, ‘World Trade Center’ and ‘Snowden’.

The reissue of ‘As If To Nothing’ is a fitting celebration of this exemplary album’s 20th anniversary, and an opportunity to own this key record from Armstrong’s celebrated body of work on vinyl for the first time.

TRACK LISTING

Side A
Ruthless Gravity
Wake Up In New York
Miracle
Amber
Side B
Finding Beauty
Waltz
Inhaler
Hymn 2
Side C
Snow
Starless II
Stay
Side D
Niente
Sea Song
Let It Be Love
Choral Ending

Cameron Avery has arrived as a new breed of nocturnal crooner, a train-wreck romantic creating timeless, ambitious music for the modern age. Utilizing his soulful wit, shrewd arrangements, and a deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks to expertly walk the fine line between vulnerable and venerable.

Hailing from the late 2000’s-era Perth, Australia, a healthy scene of hard-hitting garage rock bands, including a long stint as the drummer of Pond, Avery found his musical footing while playing with friends but sought the reward of his own outfit. Encouraged by his friend Kevin Parker of Tame Impala to record on his own, Avery started The Growl as his solo project in 2007, making an EP and an album of aggressive, distorted psychedelic rock and roll.

When Parker asked him to join Tame Impala as its touring bassist in 2013, Avery jumped at the chance and rose with that band to the top of the psych-rock heap, but all the while remained focused on carving out his singular identity as an artist and following his own muse. On a break from touring, Avery decided to head to the US to work on his album. He would settle in Los Angeles at the behest of Jonathan Wilson, the Echo Park musician and producer who also encouraged Avery to shine a spotlight on his baritone singing voice, unlike the snarling, obscured vocals of The Growl. It was a lofty idea, but one to which Avery aspired, encouraged by the challenge. Melancholic machismo is written into the very DNA of Ripe Dreams, Pipe Dreams.

From the classical, finger-picked guitar on the opener “A Time and Place” and the orchestral vamping of “Do You Know Me By Heart?” to the bombastic, self-assured swagger of “Dance with Me.” He takes an emotive page from the Leonard Cohen songbook-of-longing on “Big Town Girl” just as naturally as he thumbs an aggressive note of Bad Seed strut and Cramps rut on “Watch Me Take It Away.” And by the time he purrs that earnest refrain of “Baby, it’s you” on the album’s closer “C’est Toi,” Avery has surely mastered that drunken tightrope dance. Now a resident of New York City, Avery looks to continue his search for the ultimate sensations from a fresh vantage point.

STAFF COMMENTS

Laura says: The fact that Jonathan Wilson has produced this album is more of an indicator of it's sound than the bands Cameron Avery has previously been involved with: Pond, Tame Impala, The Growl. His rich baritone is perfectly suited to the romantic, string laden, swoon-some songs that make up the majority of this album, but it's equally suited to the more robust numbers and the bluesy stomp of "Watch Me Take It Away" which is one of the album stand outs. Comparisons have been make to Leonard Cohen and Scott Walker amongst others, but on gems like "Wasted On Fidelity" and "An Ever Jarring Moment" and "C'est Toi" I'd say Richard Hawley fans should take note. Lovely stuff.

TRACK LISTING

1. A Time And Place
2. Do You Know Me By Heart
3. Dance With Me
4. Wasted On Fidelity
5. Big Town Girl
6. Disposable
7. The Cry Of Captain Hollywood
8. Watch Me Take It Away
9. An Ever Jarring Moment
10. C'est Toi (Extended) 

The discovery of a cassette of Carola Baer’s early ’90s private home recordings was like finding a needle in a haystack. Made as a one-off mixtape of newly-recorded songs, and given to a long-since forgotten recipient, this cassette was found in 2017 at a Goodwill “bins” location in Portland, Oregon.

These chaotic, by-the-pound thrift stores contain thousands of unsorted items in constant flux, which are only available for the public to buy for a limited time before they are discarded. The prospect that this obscure relic would be rescued from its untimely fate is nothing short of a miracle. As this tape was the only one in existence, with no back up versions of many of the songs, it’s more than likely that this music would have been lost forever.

The Story Of Valerie is made up of songs culled from that cassette, with a few additional tracks from the time, and is the first time Carola Baer’s solo material has been heard by the public. The intense emotion of the music is brought upon by the primary themes of the album: the cruelty of humanity, isolated life as a British immigrant in the US, and the pain of doomed relationships.

Despite being inspired by classic 4AD acts like Dead Can Dance and Cocteau Twins, Baer’s home recordings have a sound and style that is uniquely her own. Many of the tracks feel like musical exorcisms, with Baer’s spine tingling voice soaring above minimal arrangements for Yamaha DX-7 and Casio CZ-101 synthesizers. Like finding a stranger’s diary, the listener is granted access to music that is emotionally raw and deeply personal.

TRACK LISTING

1. Maker Of Me
2. Golden Boy
3. Save Me
4. We Already Feel
5. Springtime
6. Doors Talk
7. Solemn Cattle
8. Nothing Left To Say
9. See The Lights Again
10. Dreams
11. On Top Of The Mountain

Black Rainbows is a musical project inspired by the objects and artworks collected by Theaster Gates at the Stoney Island Arts Bank in Chicago. Situated at the Great Grand Crossing neighborhoods of Chicago's South Side, Stoney Island Arts Bank is a cathedral to Black Art, a curated collection of Black archives comprising books, sculpture, records, furniture and problematic objects from America's past. As well as being a site for archive, the Arts bank is also a place for convening. Bailey Rae attended The Black Artists Retreat there in 2017 and performed in the space.

Wide ranging in it's themes, Black Rainbows' subjects are drawn from encounters with objects in the Arts Bank. Taking us from the rock hewn churces of Ethiopia, to the journeys of Black Pioneers Westward, from Miss New York Transit Queen 1957, to how the sunset appears from Harriet Jacobs' loophole.

Black Rainbows explores Black femininity, Spell Work, Inner Space/Outer Space, time collapse and ancestors, the erasure Black childhood and music as a vessel for transcendence.

The project will be released in various iterations - live performances, books, visuals, lectures, exhibitions, and more.

Sonically, the album is a multi-genre mix of the progressive R&B, neo soul sound that will be familiar to fans but it also contains rock, jazz and electronic elements.

The album was produced by S.J. Brown and Corinne Bailey Rae.

TRACK LISTING

1. A Spell, A Prayer
2. Black Rainbows
3. Erasure
4. Earthlings
5. Red Horse
6. New York Transit Queen
7. He Will Follow You With His Eyes
8. Put It Down
9. Peach Velvet Sky
10. Before The Throne Of The Invisible God

Craft Recordings reissue not one but four classic, remastered titles from legendary jazz artist Chet Baker. The albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside - all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe.

The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI.

Craft Recordings reissue not one but four classic, remastered titles from legendary jazz artist Chet Baker. The albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside - all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe.

The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI.

Recorded in Italy in 1962, 'Chet Is Back!' highlights the iconic trumpeter cutting loose on such bop-oriented workouts as "Pent-Up House" and "Well, You Needn't." Backed skilfully by a young cadre of up- and- coming European musicians, including the stellar saxophonist Bobby Jaspar and guitarist Rene Thomas, Baker sounds marvellous in both ballads and up-tempo tunes. It includes a stellar Baker version of the immortal "Over the Rainbow."

TRACK LISTING

Blues In The Closet
Ballata In Forma Di Blues
Pent- UP House
Over The Rainbow
Star Eyes
Barbados
These Foolish Things
Well, You Needn't

Chet Baker in New York has Chet Baker playing with great East Coast musicians: Philly Joe Jones on drums, Al Haig on piano, the great Paul Chambers on bass, and tenor saxophonist Johnny Griffin added on three tracks.

Recorded in December 1958, Baker didn't sing on any of the tracks on the LP. "Soft Winds" was recorded during the same session as the rest of the tracks, but it wasn't initially included on the Chet Baker in New York LP, as it was originally going to be issued on a compilation LP by various trumpet players titled New Blue Horns. It has been added here in order to complete the original session.

The Complete Album + 1 Bonus Track.

TRACK LISTING

1. Fair Weather 6:56
2. Hotel 49 9:52
3. Blue Thoughts 7:37
4. Polka Dots And Moonbeams 7:57
5. Solar 5:51
6. When Lights Are Low 6:54
7. Soft Winds 6:29
8. The Heather On The Hill 5:05*
9. I Ve Grown Accustomed To Her Face 4:14*
10. On The Street Where You Live 8:37*

Carl Barât & his new band The Jackals announce the release of their debut album Let It Reign through Cooking Vinyl Records on Monday 16th February.

Let It Reign was recorded in LA and London and was produced by Joby J. Ford (The Bronx) and features guest musicians, such as Beastie Boys percussionist Alfredo Ortiz on Glory Days. "I actually started making this record solo, but the long and short of it is I just didn’t like my own company," says Carl, adding that he soon realised that he wanted to get a new band together.

Rather than call up some old mates to recruit for The Jackals, Carl decided to post a few ads online asking if there were any likeminded souls out there who wanted to try their luck at playing with him. The response was overwhelming, with thousands of people replying. Carl adds "I was lucky, because I found a bunch of people who genuinely fit together as a gang."


TRACK LISTING

1: Glory Days
2: Victory Gin
3: Summer In The Trenches
4: A Storm Is Coming
5: Beginning To See
6: March Of The Idle
7: We Want More
8: War Of The Roses
9: The Gears
10: Let It Rain

Carl Barât & his new band The Jackals announce the release of their debut album Let It Reign through Cooking Vinyl Records on Monday 16th February.

Let It Reign was recorded in LA and London and was produced by Joby J. Ford (The Bronx) and features guest musicians, such as Beastie Boys percussionist Alfredo Ortiz on Glory Days. "I actually started making this record solo, but the long and short of it is I just didn’t like my own company," says Carl, adding that he soon realised that he wanted to get a new band together.

Rather than call up some old mates to recruit for The Jackals, Carl decided to post a few ads online asking if there were any likeminded souls out there who wanted to try their luck at playing with him. The response was overwhelming, with thousands of people replying. Carl adds "I was lucky, because I found a bunch of people who genuinely fit together as a gang."


TRACK LISTING

1: Glory Days
2: Victory Gin
3: Summer In The Trenches
4: A Storm Is Coming
5: Beginning To See
6: March Of The Idle
7: We Want More
8: War Of The Roses
9: The Gears
10: Let It Rain

Caterina Barbieri is set to release the sister album of her 2019’s acclaimed “Ecstatic Computation”. “Myuthafoo“ will be out on June 2 on light-years, followed by the “Ecstatic Computation” reissue with an extra new track.

“Myuthafoo” was written at the same time as “Ecstatic Computation”, which Barbieri regards as a sister album. Both albums are based on creative sequencing processes that playfully unravel Barbieri’s deep- rooted interest in time, space, memory and emotion. And since she was set to re-release “Ecstatic Computation” on her light-years imprint, it made sense to accompany that album with this intimately entangled set of unreleased recordings. Barbieri had been touring excessively at the time, and her process began to shift in response to that nomadic, interactive energy. Using the Orthogonal ER-101 modular sequencer, Barbieri manually programmed patterns into the device and fed them into her arsenal of noise generators, trialling different combinations at each show.

If an idea worked well in the live environment, she would put it aside, letting longer pieces breathe and transform as they sprung to life and developed organically. It’s a process she relates to her interest in cosmogony, the study of the universe’s origins; her music is rooted in the limitations of a small number of options that branch out into a much larger structure, eventually reaching towards an open-ended cosmos of possibility. From ‘Math of You’, it’s clear that the sounds are grounded in a similar sonic philosophy, blipping synth sequences nudge alongside each other harmonically, disrupting trance’s addicting euphoria with filigree polyrhythmic pulses. Like ‘Fantas’ before it, the track is focused around emotionally affecting repeating phrases, but a closer examination reveals hidden intricacies as these phrases flicker like illusions, dissolving and dissipating as they snake and weave.

TRACK LISTING

A1 Memory Leak
A2 Math Of You
A3 Myuthafoo
B1 Alphabet Of Light
B2 Sufyosowirl
B3 Swirls Of You

Following the runaway success of her EP collection, 'The Double EP: A Sea of Split Peas', Courtney Barnett returns with her debut album. Recorded in the Autumn of 2014 in an intense 10 day session at Head Gap studios in Melbourne, the album finally brings Barnett's incisive vision into stark, unflinching focus; her wit sharpened to a knife edge, her melodies more infectious and addictive than ever.

'Sometimes I Just Sit and Think, and Sometimes I just Sit' cements Barnett's standing as one of the most distinctive voices in indie rock. Mixing witty, often hilarious observations with devastating self-assessment over a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Depressing rentals and dead foxes, go-nowhere relationships and dead end suburbs, even her own fears, doubts and insecurities - nothing escapes Barnett's caustic sense of humour.

If 'The Double EP' announced the arrival of a major new talent, 'Sometimes…' consolidates that promise and marks Courtney Barnett as one of the best and most unique voices around, period.

TRACK LISTING

Elevator Operator
Pedestrian At Best
An Illustration Of Loneliness (Sleepless In New York)
Small Poppies
Depreston
Aqua Profunda!
Dead Fox
Nobody Really Cares If You Don't Go To The Party
Debbie Downer
Kim's Caravan
Boxing Day Blues

Lead single ‘Avant Gardener’ is a vivid display of Courtney Barnett’s magic. A hookladen fug of country roots and discordant psychedelia with a dreamlike narrative.

The collection is a record of two halves, and collates her story so far. It fittingly begins with six brand new songs and is then backed with six older tracks which were originally released in the form of her 2012 debut EP. Together, ‘The Double EP: A Sea Of Split Peas’ spans genres and stories, and is a unique introduction to an incomparable and exciting new talent.

As well as ‘Avant Gardener’, selected highlights include the gorgeous and woozy piano-strewn opener ‘Out Of The Woodwork’, which shows the darker side of her writing. ‘Anonymous Club’ sees Courtney at her romantic, melancholic best, while the infectious, Dylan-esque cavalcade that is ‘History Eraser’ was recently nominated alongside Tame Impala for the APRA Song Of The Year back in Australia.

TRACK LISTING

Out Of The Woodwork
Don’t Apply Compression Gently
Avant Gardener
History Eraser
David
Anonymous Club
Lance Jr.
Are You Looking After Yourself
Scotty Says
Canned Tomatoes (Whole)
Porcelain
Ode To Odetta

A conversation between friends, documented in raw, unvarnished song form, brimming with personal history, crackling with energy and shot through with humour - this is the collaborative album of Courtney Barnett and Kurt Vile. Two of the most acclaimed and gifted song writers of our generation “Lotta Sea Lice” also sees them roping in friends such as Dirty Three, Stella from Warpaint and Mick Harvey to create a body of work that sounds organic & candid.

The shared chemistry is immediately apparent in the breathtaking jam of opener and first single “Over Everything”, with dovetailing vocal lines and intricate, shimmering guitar stylings from the pair. The lyrics play out as a rambling dialogue as they compare notes about song-writing and inspiration – it was the first song written for this project, and comes accompanied by a beautiful black and white video from Australian director Danny Cohen which features Courtney and Kurt swapping lines over series of jaw dropping backdrops in rural Victoria and New Jersey as well as Melbourne and Philadelphia. It’s deceptively simple but incredibly effective.

Other tracks include the bluesy “Let it Go”, which itself was inspired by texts and emails between the duo, and the drop dead gorgeous ‘Continental Breakfast”, which showcases a more melodic side as the two harmonise over finger-picked acoustic guitars.

There are even more surprises in store, however, when the pair tackle each other’s tracks, with Vile delivering a delicious, souped-up version of “Outta the Woodwork” backed by Barnett herself, and Barnett taking on Vile’s “Peepin’ Tomboy” completely solo, to spine tingling results. The overall effect is that of Barnett and Vile throwing open the doors to their house to listeners - this is certainly Courtney and Kurt’s party alright, but this time, everyone is invited.

TRACK LISTING

Over Everything
Let It Go
Fear Is Like A Forest
Outta The Woodwork
Continental Breakfast
On Script
Blue Cheese
Peepin' Tom
Untogether

On October 22nd 2019 Courtney Barnett performed a unique and special show at the invitation of MTV in her hometown of Melbourne.

The “Unplugged” performance features Barnett as you’ve never heard her before, warm, vulnerable and emotional, performing a stirring set of eight songs to an intimate audience including “Depreston”, “Avant Gardner” and “Sunday Roast”.

Joined by her usual band Dave Mudie and Bones Sloane, she also enlisted cellist Lucy Waldron.

Barnett made the night even more iconic by inviting some of her favourite musicians to collaborate including legendary songwriter Paul Kelly, angelically-voiced New Zealander Marlon Williams and Milk! Records label-mate Evelyn Ida Morris.

The performances include covers of Leonard Cohen, Archie Roach and Seeker Lover Keeper as well as a never-before-heard original track from Courtney herself titled "Play It On Repeat".

STAFF COMMENTS

Barry says: This MTV unplugged session shows another side to the charismatic rock and or roll of Barnett and team, opting instead for a more meditative and contemplative suite of 'acoustic' numbers (as good as it is, acoustic is a bit of a stretch) all topped with Barnett's unmistakeable vocal prowess. Great stuff.

TRACK LISTING

Depreston
Sunday Roast
Charcoal Lane (featuring Paul Kelly) - Written By Archie Roach
Avant Gardener
Nameless, Faceless (featuring Evelyn Morris)
Untitled (Play It On Repeat)
Not Only I (featuring Marlon Williams) - Written By Seeker Lover Keeper
So Long, Marianne - Written By Leonard Cohen

Anonymous Club is Danny Cohen's candid documentary about the personal travails and hard-fought triumphs of Courtney Barnett, as she rose through the ranks of indie rock during the last decade.

A cautiously redemptive portrait, any happy ending reflects the possibilities of fulfillment and stability, not the things themselves. In May 2021, months before the film's release, Courtney Barnett and collaborator Stella Mozgawa rendezvoused with Cohen in Melbourne to shape a score that fit that premise--nothing too obvious or instructive, to tell the audience how they should feel. Barnett found she liked listening to what the duo had made, existing within its reflective gaze. She began sorting through those little instrumentals like amoebic puzzle pieces, figuring out how they fit into a full picture. The result is a seamless series of 17 instrumental improvisations called End of the Day: Music from the Film 'Anonymous Club', soundtrack reimagined as impressionistic sound-art collage. Like Barnett's rock songs, they wordlessly ask hard questions of our softest parts, wondering what it is we really find there.

TRACK LISTING

Start Somewhere
Life Balance
First Slow
A To B
(Electricity)
Two Circles Reflecting
End Of The Day
Floating Down
Spring Ascends
Intro
B To C
Like Water
Gold Room
Sun Through
River
Get On With It
Eternity Repeat

First taster from the new Courtney Barnett LP, "Tell Me How You Really Feel", and needless to say we're all very excited here at Piccadilly!

Limited edition numbered copies.

The CD version includes 'Live From Electric Ladyland Studios NY' audio CD with card wallet, a download card with the exclusive cover of John Cale’s 'Close Watch', an A4 poster of 'Sometimes...' album cover and 4 x Polaroids taken by Courtney Barnett.

The LP Version includes gatefold double yellow vinyl of 'Sometimes I Sit And Think, And Sometimes I Just Sit' album audio, plus a download card of mp3s of the album, the live tracks and the John Cale cover. There’s also an A2 poster of 'Sometimes...' album cover and 4 x Polaroids of Courtney & CB3.

Following the runaway success of her EP collection, 'The Double EP: A Sea of Split Peas', Courtney Barnett returns with her debut album. Recorded in the Autumn of 2014 in an intense 10 day session at Head Gap studios in Melbourne, the album finally brings Barnett's incisive vision into stark, unflinching focus; her wit sharpened to a knife edge, her melodies more infectious and addictive than ever.

'Sometimes I Just Sit and Think, and Sometimes I just Sit' cements Barnett's standing as one of the most distinctive voices in indie rock. Mixing witty, often hilarious observations with devastating self-assessment over a beguiling collection of songs that reveals her as an ambitious songwriter with an ear for clever turns of phrase and an eye for story-song details that are literate without being pretentious. Depressing rentals and dead foxes, go-nowhere relationships and dead end suburbs, even her own fears, doubts and insecurities - nothing escapes Barnett's caustic sense of humour.

If 'The Double EP' announced the arrival of a major new talent, 'Sometimes…' consolidates that promise and marks Courtney Barnett as one of the best and most unique voices around, period.

TRACK LISTING

CD 1/LP’S:
Elevator Operator
Pedestrian At Best
An Illustration Of Loneliness (Sleepless In New York)
Small Poppies
Depreston
Aqua Profunda!
Dead Fox
Nobody Really Cares If You Don't Go To The Party
Debbie Downer
Kim's Caravan
Boxing Day Blues

CD 2/Download Card:
Lance Jr (Live At Electric Lady Studios)
Canned Tomatoes (Live At Electric Lady Studios)
Scotty Says (Live At Electric Lady Studios)
History Eraser (Live At Electric Lady Studios)
Avant Gardener (Live At Electric Lady Studios)
David (Live At Electric Lady Studios)
Close Watch

The Grammy and Brit nominated Courtney Barnett returns with her second album - 'Tell Me How You Really Feel.' It follows her critically acclaimed 2015 debut album 'Sometimes I Sit And Think And Sometimes I Just Sit', and a recent top 10 collaborative record, 'Lotta Sea Lice', with Kurt Vile. One of the most distinctive voices in music, Courtney is known for mixing witty observations with unflinching self-assessment - fast forward to now and although all of the cleaver turns of phrase and an eye for story telling are still there; this new collection of songs see a more serious and outwardly tone capturing the current social landscape yet still retaining moments of intimacy and warmth. As the world becomes more familiar with Courtney Barnett these songs feel comforting and emphatic yet that raw energy and the ability to make the listener think still remain.

STAFF COMMENTS

Barry says: Another absolute stormer from Courtney, though you might have already heard the superb 'Nameless, Faceless' from the 7" a little while ago, and 'City Looks Pretty' and 'Sunday Roast' from the RSD 12", there are a bunch of gems to uncover on this including the snarling skate-punk melodicism of my personal highlight, 'Charity'. Killer.

TRACK LISTING

Hopefullessness
City Looks Pretty
Charity
Need A Little Time
Nameless, Faceless
Im Not Your Mother, Im Not Your Bitch
Crippling Self Doubt And A General Lack Of Self Confidence
Help Your Self
Walkin On Eggshells
Sunday Roast

Things Take Time, Take Time” is an assured leap forward for Barnett; a breakthrough really. This is Barnett at her most relaxed, creative and joyful. An exquisite look at the intimate, private world created by Barnett and her producer Stella Mozgawa (Warpaint, Sharon Van Etten, Kurt Vile). It’s consequently her most beautiful and intimate record to date.

TRACK LISTING

Rae Street
Sunfair Sundown
Here’s The Thing
Before You Gotta Go
Turning Green
Take It Day By Day
If I Don’t Hear From You Tonight
Write A List Of Things To Look Forward To
Splendour
Oh The Night

An acoustic show recorded in Poland and featuring the Camel bassist on fine form in front of a rapturous audience.

Charlotte Bendiks is an ambassador of distant intimacy from the north... from her home town Tromsø, where she ran her own clubseries, actively shaped the Insomnia Festival, and released two records on Mental Overdrive's Love OD label, to Cologne, where she cooperated with artists like Coma, Lena Willikens, and developed a long-lasting mutual love affair with the Salon des Amateurs. She has been travelling ever since and played, danced, loved, and laughed her way around the globe- from Buenos Aires' infamous Dengue Dancing Parties, to festival sites in Hanoi, Montevideo, Montreal, and Berlin. Playful and silly, and therefore confident and sexy, whether as a DJ or playing live, her music is deep, dark, and psychedelic. Here, Charlotte offers up a double A-side of erotic techno for the Accidental Jnr label.

TRACK LISTING

1. Hjemme Erotic
2. Bon-Sexy

Christopher Bissonnette is a Canadian musician/sound artist/designer living and working in Detroit and Windsor. He has released three full-length albums for Kranky and a collaborative recording with David Wenngren (Library Tapes) on Home Normal.

Continuing the explorations of the analog synthesizer first revealed on his last album, Bissonnette's deft touch in recording and mixing is a joy to experience. While most contemporary analog synth slingers find themselves unable to not overload the sound-field with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control.

Since his first full album release, Periphery, ten years ago, Bissonnette has been expanding his aural vocabulary and production techniques incorporating elements of concrete, field recording and modular synthesis.

This new series of works reflects an evolution of my adeptness with modular synthesis. As with my previous release Essays in Idleness, Pitch, Paper & Foil was constructed from a range of synthesis and compositional techniques. The goal with this album was to form a collection that exhibits more restraint than previous works.

Modular synthesis can be an unruly medium and taming it in order to produce delicate or subtle tones can be challenging. As with Essays..., I have allowed the artifacts of the process to find their way into the finished product. Tape noise, distortion and by-products of the random sequencing method all contribute to the character of the final recordings.

TRACK LISTING

1. Epoch
2. Diminution
3. Keeping Guard
4. Shuttering Slides
5. Surcease
6. Textbooks Of The Elites
7. The Rate Of Delay
8. Dualism

'An adventurer, an entrepreneur, a buccaneer, a visionary' - BONOAs the founder of Island Records, fabled music producer Chris Blackwell has discovered and worked with some of the most important musicians of the second half of the twentieth century - from Steve Winwood to Cat Stevens, Bob Marley to Grace Jones, U2 to Roxy Music, plus countless others. He is also widely credited with having brought reggae music to the world stage. Now, as reflects on his life, Blackwell takes us back to the island where it all began: Jamaica - the place where his family once partied with the likes of Noel Coward, Ian Fleming and Errol Flynn and where, as Jamaican local music began to adopt contemporary American trends, Blackwell's burgeoning musical instincts flourished.

It was also the birthplace of the now-legendary Island Records, founded by Blackwell in 1959. Five years later, while living in London selling Jamaican records to Caribbean immigrants, Blackwell came across the vocal talents of teenager Millie Small, who he paired with the song 'My Boy Lollipop'. The producer added a ska beat and released what would be a worldwide hit.

But this was just the beginning of a truly remarkable career. In this fascinating memoir, including up to fifty photos supplied by Blackwell's team, the music icon will discuss the many artists he's worked with over the years, as well as unpicking the initiatives, decisions and risks that ultimately brought such success to both Blackwell and his esteemed musical collaborators.

CRUSHED! is the culmination of a year’s worth of work, and builds on Cole’s streak of instantly catchy and meticulously crafted pop songs that are destined to be scream-along anthems. Incorporating threads of pop, emo and indie, CRUSHED! is a mark of Cole’s continued growth as a songwriter and producer, and is a brilliant and bold offering from an artist who continues to go from strength to strength as one of the most exciting young popstars in the UK. “I think of CRUSHED like it’s my diary. I took relationships and experiences I’ve had in the past and literally felt crushed every time I’d think about each scenario. Each song helped me get through unresolved trauma over sour relationships. As I wrote these songs in early 2022, each step of making these songs come to life has helped me overcome each unwanted memory in a different way. We recorded them in September, and having to revisit them so confidently knowing they would be out for the world to see was a whole other obstacle needing facing. But I know that I don't ever want to put music out unless it feels like you’re reading my diary. It’s where I am most authentic and vulnerable, and I wouldn't want you to see me any other way”. 

TRACK LISTING

1. HEARTBREAKERS
2. SAD GUY GEMINI
3. IS IT COOL 2 B FRIENDS?
4. YOUAREYOUAREYOUARE
5. HOMEWRECKER

Soul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album 'No Time For Dreaming', and his ascent has continued long after the release of his triumphant second album, 2013’s 'Victim of Love'. Dubbed “The Screaming Eagle of Soul,” the singer will release his third album 'Changes' on April 1, 2016 on Daptone Records imprint Dunham Records.

The album is named for his popular cover of the Black Sabbath track, previously only available as a Record Store Day 45. “I think about the lyrics very closely when I sing ‘Changes’ and get emotional,” says Bradley. “It makes me think of my mother and the changes in my life since she passed away.”

STAFF COMMENTS

Millie says: ‘Changes’ is a beautiful and soulful album that is brimming with passion, creating a swaying jazz sensation. Outstanding style and compelling warmth, definitely a must hear!

TRACK LISTING

1. God Bless America
2. Good To Be Back Home
3. Nobody But You
4. Ain't Gonna Give It Up
5. Changes
6. Ain't It A Sin
7. Things We Do For Love
8. Crazy For Your Love
9. You Think I Don't Know (But I Know)
10. Change For The World
11. Slow Love

It’s taken just two short years for Dunham Records - an offshoot of Daptone Records - to establish itself as one of the most captivating creative forces in soul music. The brainchild of guitarist/producer Thomas 'Tommy TNT' Brenneck, Dunham’s indelibly atmospheric sound is epitomized by its flagship artist, Menahan Street Band. After releasing a handful of crucial 45s, Dunham Records prepares to enter the next phase of its evolution with the debut album of its inaugural vocalist, Charles Bradley. Charles Bradley’s voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska - singing and performing in his spare time - before re-settling in his hometown Brooklyn and eventually finding a musical home at Dunham. In his distinctively rough-hewn timbre one hears the unmistakable voice of experience - each note and gruff inflection a reflection of his extended, sometimes rocky, personal path. It’s only fitting that "No Time For Dreaming"’s producer Brenneck (also a member of The Dap-Kings and The Budos Band) would recognize in Bradley a kindred musical spirit – a singer whose performances exude both raw power and poignant beauty. Recorded at Dunham Studios, and mixed at Daptone Records’ internationally revered House Of Soul Studios, "No Time For Dreaming" is the inspired sound of an awakening.

Since the release of 2011’s award winning debut, 'No Time for Dreaming', Charles Bradley has transformed from a rising star in the Daptone galaxy into a bona-fide headliner, now affectionately known across the globe as The Screaming Eagle of Soul.

The raw emotion and soulfulness of Bradley's voice lifts him up among the greats of the golden age of soul - Otis, JB, Wilson Pickett, and Darrell Banks. Anyone who has had the privilege of hearing him sing has experienced how Bradley can captivate an entire audience with a simple "Ooooo..."

Bradley and writer / producer / multi-instrumentalist Thomas “TNT” Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, 'Victim of Love'. On this album, Bradley moves past his "Heartaches and Pain" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world’s #1 authority on soul music, 'Victim of Love' proves to be a genre-bending masterpiece, picking up where the early 70s Temptations left off and edging boldly forward into psychedelic soul exploration.

Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.

It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.

Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world’s pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.

Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.

STAFF COMMENTS

Millie says: Black Velvet is a summary of everything that was great about Charles Bradley, his strong compelling vocals and passion is etched into all his music and this album ties it all together as a celebration to him and his legacy.

TRACK LISTING

1. Can’t Fight The Feeling
2. Luv Jones
3. I Feel A Change
4. Slip Away
5. Black Velvet
6. Stay Away
7. Heart Of Gold
8. (I Hope You Find) The Good Life
9. Fly Little Girl
10. Victim Of Love (Electric Version)

The third album by soul powerhouse Charles Bradley.
The entire album features the Menahan Street Band, and was produced by Tommy Brenneck.

Soul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album No Time For Dreaming, and his ascent has continued long after the release of his triumphant second album, 2013’s Victim of Love. Dubbed “The Screaming Eagle of Soul,” the singer will release his third albumChanges on April 1, 2016 on Daptone Records imprint Dunham Records.

The album is named for his popular cover of the Black Sabbath track, previously only available as a Record Store Day 45. “I think about the lyrics very closely when I sing ‘Changes’ and get emotional,” says Bradley. “It makes me think of my mother and the changes in my life since she passed away.”

Charles Bradley has also made a name for himself as a riveting live performer. He’s taken his show to venues and festivals across the globe including Coachella, Glastonbury Festival and Primavera Sound. Bradley’s also performed on famed stages including the Apollo Theater, and the Beacon Theatre where he’s separately supported The Tedeschi Trucks Band and the Afghan Whigs. He has just announced a number of European and North American shows for Spring 2016, including performances at L'Olympia in Paris and the O2 Forum in London.

By now, Charles Bradley’s remarkable, against-all-odds rise has been well documented: how he transcended a bleak life on the streets and struggled through a series of ill-fitting jobs before finally being discovered by Daptone's Gabriel Roth and releasing his debut album No Time for Dreaming. The year following the release of No Time For Dreaming was one triumph after another and his second album Victim of Love saw Bradley emerging from his past heartaches stronger and more confident, overflowing with love to share. Victim of Love went on to receive overwhelming praise and was included on "Best of 2013" lists by SPIN, MOJO, Paste, BuzzFeed, Rough Trade & more. The album’s title track was also named one of Rolling Stone’s "Best Songs of 2013."

TRACK LISTING

1. God Bless America
2. Good To Be Back Home
3. Nobody But You
4. Ain't Gonna Give It Up
5. Changes
6. Ain't It A Sin
7. Things We Do For Love
8. Crazy For Your Love
9. You Think I Don't Know (But I Know)
10. Change For The World
11. Slow Love

Since the release of 2011’s award winning debut, 'No Time for Dreaming', Charles Bradley has transformed from a rising star in the Daptone galaxy into a bona-fide headliner, now affectionately known across the globe as "The Screaming Eagle of Soul."

The raw emotion and soulfulness of Bradley's voice lifts him up among the greats of the golden age of Soul - Otis, JB, Wilson Pickett, and Darrell Banks. Anyone who has had the privilege of hearing him sing has experienced how Bradley can captivate an entire audience with a simple "Ooooo..."

Bradley and writer/producer/multi-instrumentalist Thomas “TNT” Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his "Heartaches and Pain" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world’s #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70’s Temptations left off and edging boldly forward into psychedelic soul exploration. 

The popularity of 'No Time For Dreaming' resulted in an appearance on 'Later With Jools Holland' in 2012 and such glowing reviews as:
-Lead 4/5 Boxed Review In Mojo : “The Grit And Gusto Of Otis Redding, The Raw Power Of James Brown, The Smoulder And Shudder Of James Carr, Together They Make An Intoxicating Sound.
-Lead 4/5 Review In Q Magazine : “There's A New/Old Soul Man On The Block. 'No Time For Dreaming' Has The Gritty Feel Of The Real Thing, A Man Who Has Known Mostly Hard Times And Tells It With A Pleading, Throaty Roar And Blood-Curdling Scream Worthy Of James Brown . A Real Find.” 

TRACK LISTING

1 Strictly Reserved For You
2 You Put The Flame On It
3 Let Love Stand A Chance
4 Victim Of Love
5 Love Bug Blues
6 Dusty Blue
7 Confusion
8 Where Do We Go From Here?
9 Crying In The Chapel
10 Hurricane
11 Through The Storm

Growing up in Atlanta, Chris Brann discovered house and electronic music by the somewhat longwinded way of getting sent tapes from Europe. He began assembling a home studio but it wasn't until 1994 that he began his music career in earnest and formed Wamdue Kids with DJs Deep C, and Udoh.

In 1995 they released the classic "Higher" on the Acacia label, which led to the Wamdue Kids signing to Peacefrog and the release of their seminal debut album "These Branching Moments". Following the success of this the next year Chris released his first solo album "Deep Fall", reflecting a different direction to that of his productions with Wamdue.

"Deep Fall", originally released in 1997, is a delicious collection of deep tech-house. Stand outs are the aptly named title track with beautiful synth washes and a single mournful modulated violin at its centre; and the emotional "Journey To The Centre" which is nothing short of epic.

TRACK LISTING

Deep Fall
Eyes
Calling 610
Journey To The Centre
All About The Music
Soul Star
Grey Souls
Yung Po Nee
Out

Amy Douglas should need no introduction, having supplied song-writing and vocal duties for Horse Meat Disco, Róisín Murphy, Luke Solomon, Soul Clap, and worked with Joe Goddard on their Hard Feelings project.

Here she teams up with Craig Bratley, who dusts off the analogue synths to produce something which clearly wears its influence on its sleeve, taking in elements of Balearic, Street Soul and early Sheffield Bleep.

On the Ashigaru Dub, Craig explores these influences further, the result reminiscent of Mad Professors take on Massive Attack.

TRACK LISTING

A1. No In Between (Ashigaru Dub)
B1. No In Between (Original Mix)

Cate Brooks is back with her seventh release for Clay Pipe Music. Never one to stand still, ‘Easel Studies’ finds her pushing the boundaries of sound synthesis and experimentation on the Buchla Music Easel while still sounding beautifully beguiling and hypnotically melodic.

"On this day in 2015, at exactly Midday, I took delivery of a wildly exotic musical instrument. To call it a synthesizer would be a misrepresentation; it’s really more of a tactile, living, breathing entity than anything else. It had originally supposed to have been delivered on the day before, but had somehow been mislaid in the labyrinths of the Royal Mail sorting office at Elephant and Castle.

I sat patiently and quietly all morning, waiting for its imminent arrival. I had already read through the ‘manual’, which is more of a concept / design for living, written by synthesis legend Allen Strange.

With Noon approaching, I became a little anxious- my local postie, Barrie, was usually here by about 10:30am and there was no sign of him.

At 11:58, Barrie walked past, completely ignoring my house. Obviously concerned, I stood at the door and waited for him to walk back toward his van. As he came back, he smiled and I called out, quizzically “Barrie?”. His reply was “Yes I have!” and walked back to his van, collecting a large box and bringing it to my door. I remember the weather was muggy and my neighbour was attending to her rose bushes, as the cheery and helpful postie deftly navigated around her busy secateurs.

I took the box inside, opened the top and just looked at the inner box for a while. I took a photo of it, which I still have. It felt like quite a momentous occasion, because I felt that this instrument would take me to different sonic spaces than I was used to. It wasn’t my first experience with Don Buchla’s instruments by any means, as I’d learned to use his 200e system. But this was quite a different beast.

My cat Brillo came to inspect the box and I set the Music Easel up on the floor and plugged it in. The result of that very first experiment became “Pendula”.

In the following days and weeks of that summer, I created many more experiments on the Easel, quite often with Brillo either sat on me as I played, or trying to climb up on the instrument itself, attempting to move the faders and switches himself.

By the end of August, I had amassed some thirty-something pieces, which I put aside for future reference. I had learned a lot about this instrument, its idiosyncrasies, subtleties and ways of working.

Sadly, Brillo died in September of 2015. I like to think that his last summer with me was a comforting experience, curling up and listening to the sonic experiments taking place, as he regularly did for the sixteen years he was with me. The first track on the album, “Con Brillo” is my little tribute to him.

Fast forward to 2021 and I rediscovered all of these experiments. Some were almost unlistenable, but some had a beguiling charm about them- perhaps the sound of someone not really knowing what they’re getting into. They needed mixing and balancing, so I set to work. I also wrote a new piece, with exactly the same recording chain, in the same way, in the same room. This became the suitably titled final track “Hindsight”.

The Music Easel has remained a constant source of sonic worlds for me to explore. It because the main instrument on the album Agri Montana, for example and has cropped up on many other records I’ve made since.

I would especially like to thank David at Postmodular for selling the Music Easel to me, after phoning him and disturbing his Sunday afternoon outing to Hyde Park (sorry about that David). I always promised I would send him a copy of something I had produced on it, so hopefully he will enjoy Easel Studies."

As I finish writing this, I notice that it is, once more, exactly Midday.

I hope you enjoy Easel Studies too.

Cate Brooks (21st of May, 2023).

STAFF COMMENTS

Barry says: Arriving on the buy-on-sight Clay Pipe is Cate Brooks' newest outing, an homage to the otherworldly majesty of the Buchla Music Easel. If you know what I like, there are few records that could be more perfectly in my sphere of interest. Cate's music is a huge inspiration to me, and to hear her so deftly navigate the cosmic madness of the easel, AND dedicate the first track to her cat, AND to be presented on Clay Pipe is perfect. It's all perfect, don't hang about,

The Craig Brown Band is back with a dizzying new garage-country 7”, their first songs since the release of debut album The Lucky Ones Forget. Much has happened for the group since the album’s release, from touring with Dwight Yoakam (based solely on Dwight’s observance of the magnetism of their powerful live show) to opening for Jack White at the huge Little Caesars Arena concert in Detroit. And now, this new single will be accompanying Craig and the band on their first trip overseas to Europe, featuring new bassist and longtime Liquor Store co-conspirator Derek “Block” Warren.

“Big City Small Town” is a little country rock groover that depicts a very familiar scene for anyone who’s lived in a midsize city; word travels quickly, so own who you are and what you do 100%. “Tell Me” is a charmingly concise and heartfelt appeal for a little fulfillment, from answering life’s big questions to enjoying a good song with someone who cares.

Solo album from leader / guitarist from Silver Ray. "Go Slow" contains five Butler original alongside the re-working of the traditional sea shanty "Shenandoah". Although Silver Ray are often compared to Mogwai, Explosions In The Sky etc. this album goes much further. Imagine the atmospheric guitar twang of Friends Of Dean Martinez meeting the epic instrumentals of David Axelrod on "Songs Of Innocence".

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations “post-classical grunge”. Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed ‘No Perfect Wave’ (2016, Injazero) and subsequent releases ‘Exit Rumination’ (2018), ‘White Whale’ (2020) and ‘In Love & Fracture’ (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer’s unprecedented second “heat dome”, which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of “simple ecstatic improvisation.” Diab explains: “I wanted to place myself in a space for creation with little thematic pretence, with the belief that music ‘shows its face’ as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play.”

‘Ourselves At Least’, the rhythmic album opener gracefully leaps and bounds with a human-like metronome at its core, capturing a rush of elatedness felt by Diab over the course of its late night creation. ‘Lunar Barge’ bursts into life with tone-bending bow strikes that glide across Diab’s guitar towards a climatic peak before the track drops into an electronic/acoustic trance. Inspired in part by the rhythmical works of Huun-Huur-Tu and the animated cello play remindful of Arthur Russell. “Lunar Barge is a track for a dry, hot night in the forest (which it quite literally was.). I roamed around the floors of the studio picking up any instrument standing out in the moment, and tried to see if it had anything to say.”

‘The Excuse of Fiction’ sees Diab return to free-flowing guitar play, the chosen instrument of his youth. He loops layers to form an ethereal backbone before plucking further melodies from the air on top. The result is a cinematic guitar-laden expanse brimming with optimism and nostalgia. The title references a quote by Zizek: “We need the excuse of a fiction to stage what we really are.” Themes of remembrance, yearning and desire pervade the album's 9-tracks with a palpable presence as we reach ‘Quatsino Sound’, named after an inlet on Northern Vancouver Island where Diab grew up. It features hoopoe birdcalls which were sampled from a found cassette tape of African sounds before being randomized until it became rhythmic, then embellished with synth lines, bass drops, and bowed layovers. The album centres around the nocturnal ‘Crypsis’ with Diab sleepily playing notes on a switched-off Wurlitzer before dampened piano chords, bow scrapes, and noisy glitches reverberate. ‘Erratum’ erupts with untamed force from a war cry of screaming saxophone layers reminiscent of Colin Stetson. Its visceral thirst and energy seem to be a response to the heat of the night and Diab’s urge to play the instrument he loved but had yet learnt. ‘Tiny Umbrellas’, an improvised pass of banjo, bowed guitar and ethereal modular synths breathes a contemplative pause before ‘Surge Savard’ chimes in. This whirlwind closer started life as a longform jam under the influence of psychedelics; its modular synth, air organ, guitar and sax lines were initially improvised with final touches made at Watch Yer Head studio.

Imerro is a collection of song odes to both heat and desire, closely felt. Its title literally presented itself to Diab from a random page contained in a poem by Ezra Pound found in the book ‘The Imagist Poem’. Searching for its meaning, Diab discovered that Imerro is “a Greek word for ‘desire for, I desire you’, yet nothing could substantiate its truth. “It made sense, almost like it had chosen me. An obscure word for Desire, one that might not even exist, or is so ancient that nobody really remembers it meaning anything. It's just a sound, like an album.” Imerro finds Caton at his most expressive and free-spirited. Inviting the music to find him, almost by osmosis, foregoing any preconceptions of playing any instrument he is unfamiliar with or regrets not learning during adolescence. This is music for wide screens: the result is an undeniably evocative, moving and mysterious voyage.

TRACK LISTING

A1. Ourselves At Least
A2. Lunar Barge
A3. The Excuse Of Fiction
A4. Quatsino Sound

B1. Crypsis
B2. Erratum
B3. Tiny Umbrellas
B4. You'll Never Come To Dorset
B5. Surge Savard

‘#7885 (Electropunk To Technopop) features classic tracks such as ‘Nag Nag Nag’, ‘Do The Mussolini (Headkick)’, ‘Sensoria’, ‘Landslide’, ‘I Want You’ and ‘Just Fascination’.

Curated by Richard H Kirk, who explains, “I decided to gather the more concise elements of the work… Hence the choice of 7” singles, edits and shorter album tracks, a kind of soundbite take on CV.”

‘#7885 (Electropunk To Technopop)’ compiles two distinct periods of Cabaret Voltaire - 1978-81 and 1983-85 - for the first time together on one release and follows the remastered vinyl release of ‘Red Mecca’ and already legendary sold out box set ‘#8385 (Collected Works 1983-1985)’.

The compilation travels from 1978-81 with a line up of Richard H Kirk, Stephen Mallinder and Chris Watson, when Cabaret Voltaire were (mostly) recording at the Western Works Studios in Sheffield and releasing records on Rough Trade and from 1983-85 after Watson’s departure when Kirk and Mallinder released via the Some Bizzare label on Virgin Records. Kirk points out that this “was a time where we got to do what we do, but in different areas, we wanted to push the boundaries of electronic music, we wanted to place what we were doing into places where it really shouldn't be. We certainly didn't want to carry on repeating what we'd done for the ten years previous.”

Cabaret Voltaire formed in 1973 and, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s. Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 40 years.

“Way, way ahead of their time” - DJ

“True, unflinching pioneers of electronic music” - Loud & Quiet

TRACK LISTING

Do The Mussolini (Headkick)
The Set Up
Nag Nag Nag
On Every Other Street
Silent Command
Kneel To The Boss
Seconds Too Late
Landslide
Breathe Deep
Just Fascination (7” Version)
Crackdown (Radio Edit 83)
Animation
The Dream Ticket (7” Version)
Sensoria (7” Version)
James Brown (7” Version)
Kino (7” Version)
Big Funk (7” Version)
I Want You (7” Version)
Warm

Cabaret Voltaire is Richard H. Kirk and Shadow of Fear was the band’s first studio album in 26 years and was released in 2020 to critical acclaim.

BN9Drone delves deeper into Cabaret Voltaire’s arsenal of “harsh rhythms and threatening detonations” (Classic Pop). A brand new drone album on limited edition double white vinyl, available with high definition audio download.

STAFF COMMENTS

Barry says: There are few forces in the synth scene more influential than Cabaret Voltaire, and this outing sees Kirk delving into prime drone territory. We get slowly morphing waves of electronic scree, churning sub-bass and shadowy oscillations aplenty. A monolithic triumph from one of the greatest in the 'biz.

TRACK LISTING

LP Tracklist :

A1. Eins
B1. Zwei
C1. Drei
D1. Vier

CD Tracklist :

1. BN9Drone

Cabaret Voltaire is Richard H. Kirk and "Shadow of Fear" was the band’s first studio album in 26 years and was released in 2020 to critical acclaim. New release Dekadrone delves deeper into Cabaret Voltaire’s arsenal of harsh rhythms and threatening detonations, pairing guttural drone with clipped mechanical idents and snarling LFOs.

TRACK LISTING

LP Tracklist :
A1. Phase 1
B1. Phase 2
C1. Phase 3
D1. Phase 4

CD Tracklist :
Dekadrone

‘Drinking Gasoline’ was released in 1985, consisting of four songs from the legendary ‘Gasoline In Your Eye’ videocassette. These songs rank among Cabaret Voltaire’s more infectious compositions.

‘Gasoline In Your Eye’ is now included as a DVD together with both the CD and the LP of ‘Drinking Gasoline’, featuring videos shot and edited by groundbreaking director Peter Care and Richard H Kirk.

All audio remastered from the original tapes.

Vinyl cut by Stefan Betke aka Pole.

‘Gasoline In Your Eye’ DVD includes ‘Sensoria’ and promotional videos for ‘I Want You’ and ‘Just Fascination’.

Cabaret Voltaire, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 1970s. Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

‘Micro-Phonies’ is the sixth full-length studio album by Cabaret Voltaire. Released in 1984, it is considered the group’s most mainstream release, with the singles ‘Sensoria’ and ‘James Brown’ gaining popularity, especially due to the music video finding MTV airplay.

Cabaret Voltaire, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s.

Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

All audio remastered from the original tapes.

Vinyl cut by Stefan Betke aka Pole.

Cabaret Voltaire’s ‘Micro-Phonies’, as originally remastered in 2013, now reissued on Turquoise vinyl. ‘Micro-Phonies’ is Cabaret Voltaire’s most sleek dance record, featuring charting singles ‘James Brown’ and ‘Sensoria’. Released in 1984, the record gained its reputation as the Cabs’ most mainstream album. Their partnership with Peter Care on video for ‘Sensoria’ received major airplay from MTV, and was famously one of the first music videos to be in the New York Museum of Art.

Cabaret Voltaire were very much ahead of their time, harmonising dance music, techno, dub, house and experimental electronics, making them, without a doubt, one of the most influential acts in electronic music.

“Having invented the shadowy, murkier side of industrial/noise experimentation, here Cabaret Voltaire make their equally justified claim at fully kickstarting the beat-heavy crunch…” - All Music
“Cab Vol focus on rhythms and bass lines (“James Brown”), work with breakbeats (“Blue Heat”) and approach the mainstream with "Sensoria". - Musikexpress

TRACK LISTING

1 Do Right
2 The Operative
3 Digital Rasta
4 Spies In The Wires
5 Theme From Earthshaker
1 James Brown
2 Slammer
3 Blue Heat
4 Sensoria

Shadow of Fear is Cabaret Voltaire’s first studio album in 26 years. Richard H. Kirk is the sole remaining member; he’s released many acclaimed solo albums, having invented bleep techno via his groundbreaking work in Sweet Exorcist. Kirk has formed this new album from a series of pulverising live shows. The tone and personality of CV is ingrained in its core as it dances across techno, dub, house, 1970s Germany and general esoteric explorations coupled with mangled vocal samples.

STAFF COMMENTS

Barry says: As important a document as anything they've done, 'Shadow Of Fear' is a swimming electronic odyssey, split between hypnotic industrial percussion and slowly evolving synth arps, bringing the churning driven thump we know so well, as well as a more playful, danceable backbone. Superb.

TRACK LISTING

1 Be Free
2 The Power (Of Their Knowledge)
3 Night Of The Jackal
4 Microscopic Flesh Fragment
5 Papa Nine Zero Delta United
6 Universal Energy
7 Vasto
8 What’s Goin’ On

This is Cabaret Voltaire’s seventh studio album, originally released in 1985. The album peaked at #57 in the UK charts. ‘I Want You’ went on to be the single.

Cabaret Voltaire, alongside Human League, Throbbing Gristle, Fad Gadget and The Normal, were at the forefront of the UK electronic movement of the late 70s.

Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

All audio remastered from the original tapes.

Vinyl cut by Stefan Betke aka Pole.

TRACK LISTING

L21ST
I Want You
Hells Home
Kickback
The Arm Of The Lord
Warm
Golden Halos
Motion Rotation
Whip Blow
The Web

Cabaret Voltaire’s ‘The Covenant, The Sword and The Arm of The Lord’, as originally remastered in 2013, now reissued on White vinyl. Known for being the harder, more experimental album of their “Pop” period, ‘The Covenant, The Sword and The Arm of The Lord’ was originally released in 1985 and includes the classic ‘I Want You’. The album embodys Cabarets Voltaire’s industrial electro-funk sound and their punk ethos, lending its title to American political extremism.

Cabaret Voltaire were very much ahead of their time, harmonising dance music, techno, dub, house and experimental electronics, making them, without a doubt, one of the most influential acts in electronic music.

“…The Covenant, the Sword and the Arm of the Lord is an exercise in paranoia with anxiety coded into the jittery sample-heavy structures of the music itself.” - Spectrum Culture
“It's a pacier, funkier album than the 1984 effort, but it also it more abrasive and strange and holds together better…” - The Quietus

TRACK LISTING

A1 L21ST
A2 I Want You
A3 Hells Home
A4 Kickback
A5 The Arm Of The Lord
B1 Warm
B2 Golden Halos
B3 Motion Rotation
B4 Whip Blow
B5 The Web

‘The Crackdown’ is the fourth studio album by Cabaret Voltaire. It was released in 1983.

This is Cabaret Voltaire’s first album after Chris Watson’s departure.

“One of Cabaret Voltaire’s strongest albums, ‘The Crackdown’ features the band working a number of menacing electronic textures into a basic dance / funk rhythm; the result is one of their most distinctive, challenging records.” - AllMusic

Way ahead of their time, Cabaret Voltaire’s blend of dance music, techno, dub, house and experimental made them, without a doubt, one of the most influential acts of the last 35 years.

All audio remastered from the original tapes.

Vinyl cut by Stefan Betke aka Pole.

Cabaret Voltaire’s ‘The Crackdown’, as originally remastered in 2013, now reissued on Grey vinyl. Initially released in 1983, ‘The Crackdown’ was the band’s fourth album, and first after the exit of founding member Chris Watson. The album fuses their earlier experimental records with the electronic dance-funk sound that would become more prominent within their subsequent releases and includes the magnificent haunting single ‘Just Fascination’.

The significance of ‘The Crackdown’ has grown over the decades, also enlisted in NME’s best albums of 1983.

Cabaret Voltaire were very much ahead of their time, harmonising dance music, techno, dub, house and experimental electronics, making them, without a doubt, one of the most influential acts in electronic music.

“…true, unflinching pioneers of electronic music” – Loud & Quiet
“…The Crackdown alone will serve to change some opinions of the Cabs' tenure in the majors.” - The Quietus
“One of Cabaret Voltaire's strongest albums…” - All Music

TRACK LISTING

A1 24-24
A2 In The Shadows
A3 Talking Time
A4 Animation
B1 Over And Over
B2 Just Fascination
B3 Why Kill Time (When You Can Kill Yourself)
B4 Haiti
B5 Crackdown

All Her Plans, the third album from Melbourne, Australia’s Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie’s lyrics invite the listener closer than ever before.

The urgency and fury that have marked Cable Ties’ output thus far is more nuanced on All Her Plans. The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women while holding space for gratitude, love, and acceptance.

All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

Cable Ties have toured Europe three times, supporting Tropical Fuck Storm, Amyl and the Sniffers & OFF!

TRACK LISTING

Side A:
1. Crashing Through
2. Perfect Client
3. Time For You
4. Too Late
5. Mum’s Caravan
Side B:
6. Thoughts Back
7. Silos
8. Change
9. Deep Breath Out

Influenced by the NYC and DC hardcore bands they grew up with, Cable Car Theory have created their own distinct take on good, aggressive, melodic music. The music that appears on "The Deconstruction" is at times brutal, at times earnest, both engaging and challenging to the listener. This is another quality release from Defiance.

Hailing from Sydney, Australia, prolific producer Cabu has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit to Big Wild's "Empty Room" flip – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

STAFF COMMENTS

Millie says: I've been waiting patiently for this one, smooth R&B sound with high energy which hits just the right spot. Exciting things coming from Sydney, this is one to watch closely for sure.

TRACK LISTING

1. Reintroduction
2. About U (feat. Kamaliza)
3. Over Me (feat. Gabby Nacua)
4. Interlude (feat. Pastel)
5. Sun Moon (feat. Young Franco & NOE)
6. Process (feat. Milan Ring & Ta-Ku)
7. Falling In

Great melancholic Americana from the ex Green On Red / Giant Sand man. Dark, sparse tales of pain, loneliness, regret and loss.

Cadillac Blindside, on a first listen may resemble an early Get Up Kids when they were rocking and less heart broken and this new six song EP is full of good songs delivered with an energy and assurance that leaves you a-raving!

Clay Pipe welcomes Cate Brooks back to the label this time under her Café Kaput’ moniker. This is an album about language. Sailing as an activity has a language of its’ own. A dialect, a feeling. There is the language of nomenclature; the technical and descriptive terms used on board, along with the visual signs and codes of the discipline.

Exploring somewhat deeper, there is also the undeniable mystique that has surrounded the language of the shipping forecast since it captured the imagination of the public upon its’ inception. Amongst the deepest leagues, there is a third language; something very ephemeral and non- verbal. The way the concept of sailing makes us feel; what it means to us personally. Looking out to the middle distance, watching a lone boat on a calm sea- what goes through your mind? This album explores those emotions and offers a few possible answers. Cate Brooks, 2022. 01. Waves & Knots 02.Sea Kites 03. Easterly Four or Five 04. Tug Boat 05. Light Vessel Automatic 06.Inshore Waters 07. Mid December 08. A Surface Like Glass 09. Maritime

STAFF COMMENTS

Barry says: A beautiful, slow-motion distillation of ambient textures and hazy melodic synth lines, recalling Cate's work as The Advisory Circle but with a renewed focus on instrumental interplay and evocative aquatic phrases. Another absolutely killer outing for Clay Pipe too, a perfect fit.

On their fifth album, UK based, Kentucky band Cage The Elephant have taken their garage rock roots and thrown in a heavy dose of Bowie-esque glam as they deal with the double header of classic rock’n’roll subject matter: the price of fame and heartbreak.

Caged Animals is Vincent Cacchione, a New Jersey-born Italian living in Brooklyn. Known previously for the nearly noir folk-rock of his former band, Soft Black, Cacchione carries a strong songwriting gene in his Caged Animals brand of glitch-friendly pop - as inspired by the classicism of Jeff Magnum or John Lennon's solo material, as the melancholic R&B twist of James Blake or Frank Ocean, or the perfect fusion of Chad Van Gaalen's raw & pop qualities.

In The Land Of Giants is a record about family, faith and hope and its’ recording became an opportunity to do everything that Cacchione does best in one audio space - marrying the sonic experimentation of his love for electronica with the undeniable penchant for lyrical and emotional resonance he developed in Soft Black, a band he formed with (Zachary) Cole Smith of DIIV.

This is an intimate yet grand Pop record from an artist that is not afraid of stirring emotions amidst a mountain of melody, and certainly not afraid to risk being seen as uncool in order to deliver something genuine. Cacchione himself states “This is the most spiritual record I've made. It necessitated a huge shift in my worldview and a concentrated effort to distill all of my strengths into a focused idea. For me, this album was about making something emotional, direct and human within the context of computer-made, electronic music. My previous recordings dealt heavily with some serious issues from my past. On 'In The Land Of Giants', I'm seeing the clouds part and trying to describe the beauty of my first view of the sky". How cool is that?

TRACK LISTING

1. Too Much Dark
2. Stop Hurting Each Other
3. Cindy + Me
4. The Sound Of Thunder
5. U + Yr Rocketship
6. The Mute + The Mindreader
7. Tiny Sounds
8. We're Playing With Fire
9. A Psychic Lasso
10. In The Land Of Giants
11. (you're A Giant Now)
12. What You're Looking For

'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

TRACK LISTING

CD:
01 Fontana Mix With Aria 1958 / 13'36
02 Imaginary Landscape N°.5 1952 / 3'00
03 WBAI 1960 / 7'00
04 Cartridge Music 1960 / 10'00
05 0'00'' 1962 / 2'36
06 Variations I 1960 / 10'00 Tracklisting LP

VINYL:
SIDE A
01 Fontana Mix With Aria 1958 / 13'36
02 Imaginary Landscape N°.5 1952 / 3'00
03 WBAI 1960 / 7'00

SIDE B
01 Cartridge Music 1960 / 10'00
02 0'00'' 1962 / 2'36
03 Variations I 1960 / 10'00

Cagework is a new project fronted by Sam Bedford. A three-piece formed in South-West England, they draw inspiration from odd lo-fi indie, post-hardcore, early emo and smatterings of avant-garde folk. The band have been together less than a year, playing shows in South London and beyond, releasing one single. And now... Coming in at 16 minutes, the self-titled debut album is as direct as it is vibrant. Dissonant, atonal, yet somehow hook-driven, its confidence and self-assuredness demonstrative of a band long into the game, not a group only beginning so recently. As Bedford explains, “It seems strange to want to draw a line under such a short period of time, considering we’ve been a band for less than a year,” says Bedford. “But we were looking ahead and really wanted to have these songs documented, with so many more being written all the time.” Cagework were spotted by Justin Lockey (Mastersystem / Minor Victories) who was immediately keen to produce and release the album on Physical Education, a label he co-runs.

Evidently, the production on the album has been left as abrasive and raw as Bedford intended: all big drums and Albini influenced discord. Cagework released first single Simmer in April 2018, receiving praise and support from the likes of So Young, Clash and Rough Trade, with repeated spins from Huw Stephens, Gideon Coe and Amy Lamé. But what about since then? “We played through the initial excitement around the release of Simmer, which was really encouraging,” says Bedford. This period included some touring and some support slots alongside The Districts, Yuck and Hembree. The album was intended to be a self-release in early 2019, but through fate and good fortune, the home recordings found their way to Physical Education Recordings. The band travelled up to Phys Ed founder Justin Lockey’s South Yorkshire studio. Just before the session, the band threw a wildcard down; Wilson – a track which was to become the first single from the record. “That song is about someone who is lonely, isolated and how it’s probably because of their values, or certainly how stubbornly they’re sticking to those values,” Bedford says. “It’s about accepting that sometimes you need to change how you think about yourself and recognise when the choices you’re making are making you unhappy.” This album reflects the familiar, pervasive malaise of 2018 and, by the looks of things, 2019. It also responds with a message on the need to reflect, a process the band have spent enough time on to be a relative authority on the issue. Another theme of the record is boredom and how people respond to it, particularly in a time where there are infinite distractions.

TRACK LISTING

1. Wilson
2. Eileen
3. 23
4. Listen Elsewhere
5. Modesty
6. Trust
7. Valuables

Lucien Caine is a singer, songwriter and composer based in Manchester. His songs are dark, lustful, haunting and cinematic and his music is already being compared to artists such as Serge Gainsbourg, John Barry and Elliott Smith. EP1 is the first of four EPs to be released over the next 12 months. It begins with "The Only Man That Matters" mixed by Andy Green who has produced albums for Keane and KT Tunstall. Then the intricate string arrangements and haunting vocals of "Advice From Strangers" a downtempo gem. "Black Widow", track three, is a pounding, noirish elegy of seduction and murder, and the EP closes with the "Those Days Are Gone". 'I wanted to create and develop a sound and a mood... I like it to sound dark and romantic. I want the songs to flirt with the listener, and then deliver!' Lucien Caine

Lucien Caine is a singer, songwriter and composer based in Manchester. NOW STOP, have no preconceptions do not picture Badly Drawn Boy do not imagine another Stephen Fretwell, get acoustic troubadour out of your head. Lucien Caine is none of the above! His sound is more John Barry than Nick Drake. His songs of love, obsession and excess are more Leonard Cohen than Bob Dylan. The attitude is all Scott Walker and Serge Gainsbourg transported from the sixties to now. In the summer of 2008 a plan was hatched to release four EP's; EP1, EP2, EP3, EP4 in 12 months to showcase Luciens songs. EP2 continues where the first left off. The first track (again mixed by Andy Green producer of Keane, KT Tunstall, to name but a few) is the lushly romantic "The Beat That My Heart Skipped", imagine driving along the winding coastal roads of the French Riviera in a vintage Italian sports car with the top down, this is the soundtrack that would be playing in your head. The second track is the very dark and lustful "Internal Affairs". "Let Us Be The Rumour" is a beautifully crafted and intense lament on a private relationship that becomes public. And finally "She Loves To Lose" a gorgeous seductive and intense duet sang with the Icelandic chanteuse Heidrun Bjornsdottir (formerly of GusGus and Gloss).

Known for crafting infectious rhythms infused with an otherworldly strangeness, UK-based producer CAIN makes his debut on Darker Than Wax with Sarissa - a seven tracker driven by his signature percussive style. Written in his native highlands of Scotland and heavily influenced by the mountainous landscapes, Sarissa seeks to fuse together organic and synthetic sounds in unusual ways. True to his ethos of joining the dots between folk music from cultures around the world, the melodies and rhythms explored throughout are tied together by their timeless, ethereal quality.

Interlocking rhythms lead the way as the skeleton in this music with cinematic harmonies woven in and out, leading the listener through dark valleys and emotional peaks. Each tune tells its own story and has a distinct feel from the next – from the jilting rhythms and hazy rave feel of ‘Sarissa’, the crawling basslines of ‘Gecko’, and the ethereal lightness of ‘Marwa’ to the harmonic weight of Kuro. The seven cuts making up Sarissa are equally effective as dancefloor weapons, or as accompaniments on long foggy walks.

TRACK LISTING

A1. Gecko
A2. Sarissa
A3. Marwa
A4. Juba
B1. Argon
B2. Kuro
B3. Tyre

Global pointing Brazilian jazz trio releases their new album Agôra, that sparkles with electric funk and Herbie-esque eclecticism. It features a myriad of guest vocalists and musicians including Brazilians Xênia França and Zé Leônidas, Jembaa Groove's Ghanaian singer Eric Owusu and South African artists Bongani Givethanks & Mpho Nkuzo

Re-wiring the concept of 'fusion' for 2023, Agôra is Brazilian trio Caixa Cubo's resurgent new record with the title referring to 'now', based upon the intuitive and fluid nature of the trio's method, and this inspired recording. With shoots to black music culture, from Brazil to Brooklyn, Ghana and South Africa, Agôra is the group's ninth album yet is their first where they've invited guests, mainly singers, onto each track and follows their last, Angela from 2020, released on Heavenly Records, which won a BBC 6 Music Album of the Year (Huey Morgan's selection) granting them much deserved international recognition.

The core musical elements of Caixa Cubo are Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), all from São Paulo, Brazil and where they met as teenagers and would continue their friendship and musical bond at the Royal Conservatory in The Hague, Netherlands. Now all in their mid thirties, João and Noa live back in the city where it all started but Henrique has settled in Cologne, Germany where the recording of Agôra took place, over the course of 3 days, at the home cum studio of Chris 'Dusty' Doepke, their friend and owner of the label they signed to, Jazz & Milk.

In line with all their creations where flow and energy provide the magic, allowing what the moment provides, the album shines not only for its virtuosity but for its minimalism, the depth of space, and for the first time, the ability to figure in and outside of the jazz fold, as the trio decided, for the first time, to bring in singers and add a new aesthetic to their sound.

"Agôra is a wake-up call to reality, a reminder that the infinite possibilities of technological progress should not disconnect us from the earth, from eye-to-eye relationships, and from moments lived in person" the band are keen to point out. "And that we must not be consumed by greed, for all we truly possess.... is the NOW."

Turning hope and metaphor into music, the debut single Sábado, an electrified future- jazz-fizz reflects perfectly the spontaneity that permeated the entire recording of the album. "When we got to the studio, we had no idea what we were going to record. We started playing a groove, kind of inspired by Gilberto Gil's 80s albums, and our drummer João started singing this funny song 'Sábado Barrigudão' (Big Belly Saturday) alongside the bass groove and that was that". Inspired by their city of birth, São Paulo, it features long time collaborator and vocalist Zé Leônidas, with cuicas, tamborim, agogo and shakers providing the most obvious Brazilian affect from the album.

Dreams is the band's first foray into R'n'B melding the group's simple and sporadic instrumentation of drums, keys and bass into a Jill Scott inspired song that could have been born in Brooklyn yet sung by Brazilian singer and Grammy nominated Xênia França and Zé Leônidas in both English and Portuguese. Xênia recently performed online for hip-to-it website Colors and it's her latest collaboration with Caixa Cubo, having first met in 2009 for a series of live performances.

South African artists Bongani Givethanks & Mpho Nkuzo come to the record with a wholly different approach on Ndiyakhangela, providing spoken word and vocal refrains on top of an Afro-Brazilian percussion jam with a delivery and verse in Xhosa, Zula and Ndebele. Asase is the album opener and features vocals of Eric Owusu who is part of highlife pioneer Pat Thomas's live band and most recently, co-leader of Jembaa Groove, an Afro-soul band from Berlin. It's a synth wig out with djembe grooves and offers a brand new take on Afro-soul-jazz.

Other contributions come from Cologne based jazz singer Rebekka Ziegler (Oblique Sunshine), São Paulo based guitarist Eduardo Camargo (Caio & Eric) and trumpet player Matthias Schriefl on Kismeti, a gorgeous and rolling number that ebbs and flows, exemplifying the group's effortless ability to craft a sound energised by a belief in one-self and the idea of having faith without the need to look at each other for verification.

As drummer and percussionist João Fideles perfectly surmised upon arriving for the recording session, "What drums do you have? Whatever you have, I'll use it". Agôra is testament to nearly 20 years of camaraderie, friendship and most importantly, trust.

TRACK LISTING

1. Dreams (feat. Xênia França & Zé Leônidas)
2. Kismeti (feat. Matthias Schriefl)
3. Asase (feat. Eric Owusu)
4. Sábado (feat. Zé Leônidas)
5. Carrossel (feat. Zé Leônidas)
6. Caio & Eric (feat. Eduardo Camargo)
7. Ndiyakhangela (feat. Bongani Givethanks & Mpho Nkuzo)
8. Agôra (feat. Matthias Schriefl)
9. Oblique Sunshine (feat. Rebekka Ziegler)

One of the most highly-regarded modern Brazilian jazz trios, Caixa Cubo have announced details of the release of Angela, their latest album, and first to be licensed for European release by Heavenly Recordings.

Recorded in December 2018, the album features the singer Zé Leônidas on Palavras, and includes arrangements of songs like Baião Malandro by Egberto Gismonti and Dark Prince by Geri Allen, in addition to the group's original compositions.

Made up of Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass) the trio have split their time between Brazil and Europe in recent years, having been awarded scholarships to study at the Royal Conservatory of The Hague, Netherlands.

They have performed at many respected European venues and festivals including Jazz à Vienne Festival (France), Anton Philip Hall (The Hague), A-Trane (Berlin), Riverboat Festival (Denmark) and others in Paris, Brussels, London, Birmingham, Lisbon, Rotterdam. They also performed in Maputo, Mozambique, as well as renowned venues in Brazil, mainly in Sao Paulo (Auditório Ibirapuera, SESC Consolação, Museu da Casa Brasileira).

Talking about Caixa Cubo and the album, the British DJ, broadcaster, producer, writer and jazz lover, Patrick Forge said:

It used to be the case that young Brazilians were either oblivious to or disdainful of their musical heritage, such was the omnipotence of “baile funk” and the influence of foreign music. (Heavy Metal acts that could barely get a booking in the U.K. selling out stadiums?!). A perplexing conundrum for those like myself who’ve found so much to treasure in those traditions, particularly from the 60s and 70s when Brazilian music culture reached an apotheosis of creativity.

It’s been so gratifying in recent years to witness a renaissance of those musical values, as a young generation of players more connected to worldwide trends have also sought to reconnect with their own lineage. Brazilian musicians have a unique feel, perhaps samba has literally infused their DNA, no matter what style or approach they take there is always that indigenous quality to the music.

Caixa Cubo are a jazz-fusion trio who plug in to a current of Brazilian music that was exemplified by Azymuth in the 70s; though these three players have their own twist. A touch darker and less obviously Brazilian, there is something so fundamental and pure about their sound, the interaction sounds fresh and spontaneous, intimate and real.

This is a record that will continue to delight with repeated listening such is the quality and grace of the playing. The sole vocal track Palavras (featuring Ze Leonidas) is a beguiling beauty evocative of Milton Nascimento and the best of Brazil’s melodic and harmonic traditions. Their version of Egbert Gismonti’s Baiao Malandro spins the off the wall funk of one of Brazil’s greatest composers into a more digestible contemporary form without losing any of its madcap brilliance. A triumph that will translate as well to fans of Yussef Kamaal and the younger generation of jazz converts as to seasoned old heads like myself.

STAFF COMMENTS

Matt says: Laid back, rich jazz beaming with Brazilian elegance, a true feast for the ears whilst hammocking in the sunshine.

TRACK LISTING

1 Angela
2 Khanimambo
3 Palavras
4 Lua Nova
5 Dark Prince
6 Acalanto
7 Baião Malandro

Released via Sony CMG, "Prolonging The Magic" is the excellent third studio album by American alternative rock band CAKE. It was originally released on 6th Oct, 1998.

A 13 song album, pressed on standard Black, 180gm LP Vinyl. 

The Brighton-based producer and creative mastermind, Caldera, lets us delve into his multi-faceted personality with his new EP, 5D Worlds. No VR set needed, Caldera follows the chant of the sirens and the shamanic incantations but never directly references them: a psychoactive journey without the psychedelics. Caldera’s 5D Worlds is a hyperreal ride, from his signature dubby grooves to his lesser known Tech-Trance whopper fantasies – As the BPM evolves, the sound designs morph and the gentle percussion give way to sonar-like synths and binary rhythms. Are you finally hearing the sirens ? Good, you have arrived at your destination. 

STAFF COMMENTS

Matt says: It's mushroom season and Nummer continue to probe the thin veil between realities via sonic shaman Caldera whose mind-expanding sonics should resonate across the multiverse.

TRACK LISTING

A1. Amphibian Dance
A2. Dolphin Skii
B1. Turbine Mode (Underwater Sunset Mix)
B2. Martino Fantasma 

A strong love for classic 60s/70s guitar pop (Beach Boys, Beatles) as well as soft spots for Prince and Hall & Oates display his self proclaimed 'fascination with pop music'. While his influences certainly shape his work, it is his natural ear for melody and movement which make Calder's work both fluid and engaging.

His knack and ambition both in his song writing and production provide a solid foundation for Calder's music to drift in an out of psychy realms. There are no over drenched chorus or walls of sound, instead leaving space for melody and texture to beneatly co-existent. Alex has found the sweet spot between slacker-pop jangle and snug rhymtic production to create reassurance his songs are going somewhere. Intimate handclaps and shakers make it easy for one to visualize the living from which it came as Calder's questions what to do with his time both literally and existentially.

TRACK LISTING

1. Sukie And Me
2. Light Leave Your Eyes
3. Location
4. Time
5. Captivate
6. Fatal Delay
7. Lethargic

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodicfunk instrumental - short but oh, so sweet. It's followed by the supreme tearjerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

TRACK LISTING

A1 Special To Me 4:00
A2 My Flame 3:30
A3 Love Won't Wait 4:00
A4 Can't Say Goodbye 5:20
B1 Come To Me 2:52
B2 What You Won't Do For Love 4:45
B3 Kalimba Song 2:00
B4 Take Me Back To Then 3:30
B5 Down For The Third Time 3:30

Bobby Caldwell's second album, Cat In The Hat, from 1980, is one of his greatest moments and another masterwork of soulful sophistication. Featuring the eternal "Open Your Eyes", brilliantly sampled by J Dilla for Common's "The Light", it's about as essential as records get. Like its eponymous predecessor, it's been out of print for far too long. To finally release the hugely-anticipated reissue is one of our sincerely proudest moments.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

Right from the off, it's easy to tell that Cat In The Hat is a deeply special record. It's fantastically produced and incredibly well-rounded, carving its own lane with deep soul, warm jazz and a stunning vocal delivery that really helped Bobby reach out to some big new audiences at the time. Goosebumps at the ready for the rolling power-piano funk of "Coming Down From Love", opening up the album with a track as good as anything Steely Dan or The Doobies ever crafted, with a vocal performance from the heavens. Pumping AOR wonder "Wrong Or Right" is up there with the slick, classy rhythms of prime Ned Doheny whilst the cool, skipping soul of guitar-drenched "To Know What You've Got" is a funky ballad par excellence, with elemental traces of "What A Fool Believes". No bad thing. Closing out Side A, the folk-funk of "You Promised Me" is a bright, soulful strut with a wonderful vocal coda that just builds. Sensational.

The delicate bounce and falsetto self-harmonising of "It's Over" offers a truly delightful introduction to Side B, and serves as a great precursor to what follows. Bobby's dynamite "Open Your Eyes" is likely the reason you're all here. As if he needed it, the eternal J Dilla further immortalised Caldwell in the hip-hop canon with his production of Common’s epochal “The Light,” which heavily samples the magical “Open Your Eyes.” On a post paying tribute to Bobby in March 2023, Questlove claimed that he "got word Brother Bobby loved it". Bobby's original has seen new life even more recently from the likes of Dwele and Kendrick Lamar and deservingly so, as its insistent drums and staccato piano created a modern-soul classic. You'd think that would be hard to follow, wouldn't you? Not so, when you're Bobby Caldwell. Indeed, the horn-drenched stepper "Mother Of Creation" is absolutely ace, and, whisper it, possibly the album's finest track, all funky piano and guitars with horn lines to die for. Exquisite ballad "I Don't Want To Lose Your Love" rounds out the album beautifully.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of Cat In The Hat will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possible quality at Record Industry in Holland.

TRACK LISTING

A1 Coming Down From Love 4:01
A2 Wrong Or Right 4:56
A3 To Know What You've Got 3:08
A4 You Promised Me 4:01
B1 It's Over 2:56
B2 Open Your Eyes 3:43
B3 Mother Of Creation 5:05
B4 I Don't Want To Lose Your Love 4:35