Haylie Davis channels the spirit of the early ’70s, when Carole King and Joni Mitchell redefined songwriting. That time-travelling sensibility is celebrated on 'Wandering Star', the album’s title track and new single, out today. A piano-led meditation steeped in longing, the song carries the eerie shadow of Karen Carpenter, buoyed by a luminous, aching sub-melody.

The blissful ballad ‘Horns of Time’ taps into a plaintive cosmic country palette reminiscent of Emmylou Harris. ‘Give Me a Rainbow’ follows, a lo-fi folk reverie recalling Clairo, as if filtered through a back-porch-reclining, wide-eyed Dolly Parton in awe of her own roots. Rolling Stone has hailed Davis’ earlier recordings as “gently hued Laurel Canyon folk-pop songs”, and on Wandering Star her compass swings wider still. Her maturing worldview and distinctive vocal at times evoke Lana Del Rey and Weyes Blood crafting an ode to Gram Parsons - a hybrid on full display in the self-examining passion of ‘I Was Wrong’.

A fresh take on modern pop, 'Wandering Star' is infectious, brimming with hooks, soaring choruses and storylines that tug at the heartstrings.

TRACK LISTING

1. Country Boy
2. Golden Age
3. I Was Wrong
4. Born To Be Blue
5. Lily Of The Valley
6. Give Me A Rainbow
7. Young Man
8. Horns Of Time
9. Lonely Too
10. Wandering Star
11. Mourning Dove

Acclaimed harpist and songwriter Mikaela Davis’ new album, 'Graceland Way', builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: 'Graceland Way',” Davis says. Featuring an unreleased Cass McCombs track ('Mizmoon') as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.

TRACK LISTING

1. (Looking Through) Rose Colored Glasses
2. Nothin’s On The Radio
3. 11:11
4. Wild Flower
5. Mizmoon
6. Starlite Tonite
7. Junk Love
8. The Wrong Way
9. Spring Petals In The Snow
10. (That’s Not) Who I Wanna Be

At the Newport Jazz Festival in 1955, Davis performed the song ''Round Midnight' as part of an all-star jam session, with the song's composer Thelonious Monk, along with Connie Kay and Percy Heath of the Modern Jazz Quartet, Zoot Sims, and Gerry Mulligan. Davis's solo received a positive reception from many jazz fans and critics. His response to this performance was typically laconic: 'What are they talking about? I just played the way I always play.' George Avakian of Columbia Records was in the audience, and his brother Aram persuaded him that he ought to sign Davis to the label.

TRACK LISTING

1: 'Round Midnight
2: Ah-leu-cha
3: All of You
4: Bye, Bye, Blackbird
5: Tadd's Delight
6: Dear Old Stockholm

In 1955 Miles Davis played an all-star jam session at the Newport Jazz Festival with Thelonious Monk on piano, Gerry Mulligan on baritone sax and Zoot Sims on tenor sax. This performance immediately drew the attention of Columbia Records' George Avakian, who was so impressed that he immediately offered Davis a contract if he could form a regular band. The group he then assembled would go down in history as Davis' so-called "First Great Quintet", consisting of John Coltrane on tenor sax, Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and of course Miles himself on trumpet. 'Round About Midnight is Miles Davis' first record for Columbia and also the first studio recording of the First Great Quintet. The recording sessions began on October 26 1955 but the album wasn't released until 1957 as Davis was still under contract at Prestige at the time. These respective sessions yielded Steamin', Workin', Cookin' and Relaxin'; albums that would go down in history as quintessential blueprints of late 1950s hard bop. The record is made up of a collection of standards and one traditional song ("Dear Old Stockholm", from the 19th century). Notably, it features what may be considered the most well-known versions of Thelonious Monk's "'Round Midnight" and "Bye Bye Blackbird". That Avakian made a golden signing was sufficiently clear from the start, but no one could foresee that it would be this quintet on Columbia that would go on to change the course of modern jazz forever with Kind of Blue.

TRACK LISTING

Side A
1. 'Round Midnight
2. Ah-Leu-Cha
3. All Of You

Side B
1. Bye Bye Blackbird
2. Tadd's Delight
3. Dear Old Stockholm

First released in 1958 by Fontana in Europe and Columbia in America, never had a soundtrack contributed as much to the fame of a film. The contradictory accounts of Miles Davis’ creation of the soundtrack have all become part of its legend. Rarely has a soundtrack been so decisive. Close to seven decades on, beyond the myth, this taut, feverish recording, imbued with extreme dramatic tension, remains one of the most iconic soundtracks in our catalogue — and one of the only jazz soundtracks which was entirely improvised. 

TRACK LISTING

1LP
Side 1
1 Générique
2 L’Assassinat de Carala
3 Sur l’autoroute
4 Julien dans l’ascenseur
5 Florence sur les Champs-Élysées
Side 2
1 Dîner au motel
2 Évasion de Julien
3 Visite du Vigile
4 Au bar du Petit Bac
5 Chez le photographe du motel

3 10-inch LPs
LP1 - Original Soundtrack
Side A
1 Générique
2 L’Assassinat de Carala
3 Sur l’autoroute
4 Julien dans l’ascenseur
5 Florence sur les Champs-Élysées
Side B
1 Dîner au motel
2 Évasion de Julien
3 Visite du Vigile
4 Au bar du Petit Bac
6 Chez le photographe du mote
LP2 - Session Takes
Side C
1 Nuit sur les Champs-Elysées – take 1
2 Nuit sur les Champs-Elysées – take 2
3 Nuit sur les Champs-Elysées – take 3 (Générique)
4 Nuit sur les Champs-Elysées – take 4 (Florence sur les Champs-Elysées)
Side D
1 Assassinat – take 1 (Visite du vigile)
2 Assassinat – take 2 (Julien dans l’ascenseur)
3 Assassinat – take 3 (L’Assassinat de Carala)
4 Motel (Dîner au motel)
5 Final – take 1
LP3 - Session Takes
Side E
1 Final – take 2
2 Final – take 3 (Chez le photographe du motel)
3 L’Interrogatoire de Julien
Side F
1 Ascenseur (Evasion de Julien)
2 Petit Bac – take 1
3 Petit Bac – take 2 (Au Bar du Petit Bac)
4 Voiture – take 1
5 Voiture – take 2 (Sur l’autoroute)

CD
CD1 - Original Soundtrack
1 Générique
2 L’Assassinat de Carala
3 Sur l’autoroute
4 Julien dans l’ascenseur
5 Florence sur les Champs-Élysées
6 Dîner au motel
7 Évasion de Julien
8 Visite du Vigile
9 Au bar du Petit Bac
10 Chez le photographe du motel
CD2 - Session Takes
1 Nuit sur les Champs-Elysées – take 1
2 Nuit sur les Champs-Elysées – take 2
3 Nuit sur les Champs-Elysées – take 3 (Générique)
4 Nuit sur les Champs-Elysées – take 4(Florence sur les Champs-Elysées)
5 Assassinat – take 1 (Visite du vigile)
6 Assassinat – take 2 (Julien dans l’ascenseur)
7 Assassinat – take 3 (L’Assassinat de Carala)
8 Motel (Dîner au motel)
9 Final – take 1
10 Final – take 2
11 Final – take 3 (Chez le photographe du motel)
12 L’Interrogatoire de Julien
13 Ascenseur (Evasion de Julien)
14 Petit Bac – take 1
15 Petit Bac – take 2 (Au Bar du Petit Bac)
16 Voiture – take 1
17 Voiture – take 2 (Sur l’autoroute)

In the summer of 1948 Miles Davis, in collaboration with the arranger Gil Evans, whom he had met several years earlier, decided to carry out his project by detaching himself from the principles of bebop to participate in a new form of jazz. Installed in New York, he founded a new group, intermediate between the big band and small bebop groups. Cool jazz was born, but it was not an immediate revolution: the nonet was quickly dissolved, and this new music took several years to establish itself among jazz musicians and the public.

On September 18, 1948, the nonet performed for the first time in public, opening for Count Basie's show at the Royal Roost in New York under the title "Nonet by Miles Davis, arrangement by Gerry Mulligan, Gil Evans and John Lewis ". An unusual name which betrays the desire to create music based largely on arrangements.

This release is part of the New Ermitage collection available from January 2024: 18 jazz and soul titles reissued on yellow vinyl with new codes and renewed graphics.

TRACK LISTING

1. Move
2. Jeru
3. Moon Dreams
4. Venus De Milo
5. Budo
6. Deception
7. Godchild
8. Boplicity
9. Rocker
10. Israel
11. Rouge

Miles Davis’ earliest masterpiece, Birth Of The Cool, gets the royal treatment in celebration of the legendary trumpeter’s Centennial. Following his trial-by-fire tenure in the Charlie Parker Quintet in the mid-1940s, Davis emerged with bolstered confidence and a creative hunger to explore new directions.

A regular gathering of like-minded musicians at arranger Gil Evans’ Manhattan apartment provided the workshop at which the Miles Davis Nonet was born, and in 1949–50 Davis led three seminal sessions for Capitol Records that documented this exciting new music with a cast of collaborators including Gerry Mulligan, Lee Konitz, J.J. Johnson, Kai Winding, John Lewis, Max Roach, Kenny Clarke, and others.

The nonet featured a unique instrumentation with French horn and tuba to create new textures influenced by impressionist classical music that inspired lyrical improvisations by the band’s soloists on arrangements of pieces by Davis, Evans, Mulligan, Lewis, Denzil Best, Bud Powell, Johnny Mercer, and more.

TRACK LISTING

Side A
1. Move
2. Jeru
3. Moon Dreams
4. Venus De Milo
5. Budo
6. Deception

Side B
1. Godchild
2. Boplicity
3. Rocker
4. Israel
5. Rouge

Miles Davis' quintet with John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones was formed in 1955 and is widely regarded as one of the greatest combos in jazz history. Like its followers Steamin', Workin' and Relaxin', Cookin' is the product of two massively productive recording sessions during May and October of 1956, which ended his obligations with Prestige Records.

"Miles' peculiar blend of pure melody and acidulous accents never has sounded better. This is one of the best LPs of the year."- ***** Ralph J. Gleason, DownBeat

TRACK LISTING

My Funny Valentine
Blues By Five
When Lights Are Low (Bonus Track - Quartet Version]
Airegin
Tune Up
When Lights Are Low

In a Silent Way is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis, released on July 30, 1969, on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969, at CBS 30th Street Studio in New York City. Incorporating elements of classical sonata form, Macero edited and arranged Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre in his previous records and live performances. 

Kind of Blue is a studio album by American jazz trumpeter Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records. The album features Davis's ensemble sextet consisting of saxophonists John Coltrane and Julian "Cannonball" Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track in place of Evans. Kind of Blue has been regarded by many critics as the greatest jazz record, Davis's masterpiece, and one of the best albums of all time. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded. 

TRACK LISTING

So What 
Freddie Freeloader 
Blue In Green 
Flamenco Sketches 
All Blues

Kind of Blue is a studio album by American jazz trumpeter Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records. The album features Davis's ensemble sextet consisting of saxophonists John Coltrane and Julian "Cannonball" Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track in place of Evans. Kind of Blue has been regarded by many critics as the greatest jazz record, Davis's masterpiece, and one of the best albums of all time. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded. 

TRACK LISTING

So What 
Freddie Freeloader 
Blue In Green 
Flamenco Sketches 
All Blues

The complete 1959 Miles Davis album 'Kind of Blue', one of the most influential Jazz albums of all time, presented here as a 2LP set in its original mono and stereo versions.

TRACK LISTING

1. So What
2. Freddie Freeloader
3. Blue In Green
4. All Blues
5. Flamenco Sketches
6. So What
7. Freddie Freeloader
8. Blue In Green
9. All Blues
10. Flamenco Sketches

Released to celebrate Miles Davis’ centennial, 'Miles ’56' collects together recordings from the year that Davis recorded his most influential work on Prestige. With cuts from 'Cookin', 'Relaxin', 'Workin' and 'Steamin', this collection includes the Quintet of Davis, Coltrane, Garland, Chambers, & Jones. Released on limited 4-LP and remastered from the original analog tapes by GRAMMY-winning engineer Paul Blakemore the set Included new liner notes by GRAMMY-winners Ashley Kahn and Dan Morgenstern.

TRACK LISTING

1. In Your Own Sweet Way (March 16, 1956 version)
2. No Line
3. Vierd Blues
4. In Your Own Sweet Way (May 11, 1956 version)
5. Diane
6. Trane’s Blues
7. Something I Dreamed Last Night
8. It Could Happen to You
9. Woody’N You
10. Ahmad’s Blues
11. Surrey With the Fringe on Top
12. It Never Entered My Mind
13. When I Fall in Love
14. Salt Peanuts
15. Four
16. The Theme (Take 1)
17. The Theme (Take 2)
18. If I Were a Bell
19. Well, You Needn’t
20. ’Round Midnight
21. Half Nelson
22. You’re My Everything
23. I Could Write a Book
24. Oleo
25. Airegin
26. Tune Up
27. When Lights Are Low
28. Blues by Five
29. My Funny Valentine

'Sketches of Spain' was recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City. An extended version of the second movement of Joaquín Rodrigo's 'Concierto de Aranjuez' (1939) is included, as well as a piece called 'Will o' the Wisp', from Manuel de Falla's ballet 'El Amor Brujo' (1914-1915).

TRACK LISTING

1: Concierto De Aranjeuz: Adagio
2: Will O' the Wisp (Master)
3: The Pan Piper
4: Saeta
5: Solea (Master)

One of the four classic albums Miles Davis recorded in 1956 to fulfil his contract with Prestige before signing to Columbia, Steamin' features Davis leading his iconic quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Contains new specially prepared liner notes by Penguin Guide to Jazz 's writer Brian Morton.

"This album is a must for anyone seriously interested in jazz." - Down Beat, 4.5 STARS (Don DeMicheal)

TRACK LISTING

Surrey With The Fringe On Top
Salt Peanuts
Something I Dreamed Last Night
Diane
Well You Needn't
When I Fall In Love
Well You Needn't

3CD description:
That’s What Happened 1982-1985: Bootleg Volume 7 is the next installment in the celebrated, award-winning archival series that began in 2011, shining an in-depth light onto different eras of the legendary career of Miles Davis. In the 1980s, popular music had moved to a smoother, electronic-based sound that traded the steam of previous years for subdued arrangements meant to elicit peace and deep reflection. Miles Davis embraced this era, pulling inspiration from FM radio and an upstart music video channel called MTV. He was searching for the next frontier, letting his creativity roam. This music on The Bootleg Series Vol. 7 captures that exploration, and finds Miles beginning to re-emerge in a creative landscape far different than the one he left in 1975. He’s touched every inch of pop culture while keeping true to his iconoclastic vision of jazz as amorphous art that’s supposed to bend and flow and mutate to something else. On That’s What Happened, we get to play in the rubble of what would become yet another period of unprecedented innovation. Beauty resides in evolution. The set collects nearly 4 hours of unreleased music including 2 CDs of studio material from 1982 to 1985 plus another CD containing a complete, blistering show of one of Miles’ last amazing bands captured live at the Festival International De Jazz De Montreal in July 1983. Side men include a multi-generational who’s who of jazz talent from JJ Johnson, John McLaughlin, Al Foster and John Scofield to Mike Stern, Marcus Miller, Daryl Jones and Vince Wilburn.

2xLP Highlights description:
That’s What Happened 1982-1985: Bootleg Volume 7 is the next installment in the celebrated, award-winning archival series that began in 2011, shining an in-depth light onto different eras of the legendary career of Miles Davis. In the 1980s, popular music had moved to a smoother, electronic-based sound that traded the steam of previous years for subdued arrangements meant to elicit peace and deep reflection. Miles Davis embraced this era, pulling inspiration from FM radio and an upstart music video channel called MTV. He was searching for the next frontier, letting his creativity roam. This music on The Bootleg Series Vol. 7 captures that exploration, and finds Miles beginning to re-emerge in a creative landscape far different than the one he left in 1975. He’s touched every inch of pop culture while keeping true to his iconoclastic vision of jazz as amorphous art that’s supposed to bend and flow and mutate to something else. On The Bootleg Series Vol. 7, we get to play in the rubble of what would become yet another period of unprecedented innovation. Beauty resides in evolution. This double LP collects highlights of Bootleg Volume 7 with over 80 minutes of unreleased studio material from 1982 to 1985 on white vinyl. Side men include a multi-generational who’s who of jazz talent from JJ Johnson, Al Foster and John Scofield to Mike Stern, Marcus Miller and Daryl Jones.

TRACK LISTING

3CD Tracklist:
CD1
1. Santana (13:06)
2. Minor Ninths, Part 1 (3:13)
3. Minor Ninths, Part 2 (4:13)
4. Celestial Blues, Part 1 (8:05)
5. Celestial Blues, Part 2 (4:04)
6. Celestial Blues, Part 3 (6:57)
7. Remake Of OBX Ballad (5:00)
8. Remake Of OBX Ballad Sessions (7:17)
9. Freaky Deaky, Part 1 (9:50)
10. Freaky Deaky, Part 2 (5:25)
CD2
1. Time After Time (alternate) (5:53)
2. Time After Time (full Session) (8:58)
3. Theme From Jack Johnson (Right Off) / Intro (8:30)
4. Never Loved Like This (studio Session Demo) (5:00)
5. Hopscotch (slow) (5:39)
6. Hopscotch (fast) (6:59)
7. What’s Love Got To Do With It (4:25)
8. Human Nature (alternate) (5:59)
9. Katia (full Session) (10:24)
CD3 (Live In Montreal, July 7, 1983)
1. Speak (That’s What Happened) (12:27)
2. Star People (9:21)
3. What It Is (6:58)
4. It Gets Better (12:25)
5. Hopscotch (7:51)
6. Star On Cicely (9:12)
7. Jean-Pierre (7:34)
8. Code 3 (6:36)
9. Creepin’ In (10:36)

2xLP White Vinyl Tracklist:
LP 1 Side A
Santana (13:06)
Duet (Part 2) (4:32)
Celestial Blues (Part 2) 4:03
LP 1 Side B
Remake Of OBX Ballad (4:59)
Time After Time (alternate) (5:53)
What’s Love Got To Do With It (4:25)
Human Nature (alternate) (5:59)
LP 2 Side C
Freaky Deaky (vinyl Edit) 7:48
Never Loved Like This (studio Session Demo) 5:16
Hopscotch (fast) (6:59)
LP 2 Side D
Intro (8:30)
Katia (full Session) 10:24

'The Best Of Miles Davis' is a new compilation released to celebrate the legendary jazz trumpeters centennial in 2026. Designed as an introduction to this influential artist, it covers his prime years between 1956 and 1961, during which time he recorded albums including 'Workin', 'Cookin', 'Steamin' and 'Relaxin'. The 8 cuts included feature 'Round Midnight', 'My Funny Valentine', 'Just Squeeze Me (But Don't Tease Me)' and more.

TRACK LISTING

1. Just Squeeze Me
2. Oleo
3. ’Round Midnight
4. Airegin
5. My Funny Valentine
6. Well, You Needn’t
7. You’re My Everything
8. Four

Charlie Parker had just died (March 1955) and Miles Davis was in the process of forming his first classic quintet when he recorded this quartet session with celebrated bassist Oscar Pettiford, pianist Red Garland, and drummer Philly Joe Jones, both of whom would also form part of the quintet with John Coltrane on tenor sax and Paul Chambers on bass.

The program consisted of four standards, a blues, 'Green Haze', and the original tune 'I Didn't', which was Miles' humorous answer to Thelonious Monk's 'Well, You Needn't'. The interpretations are lyrical and melodic, and even 'A Night In Tunisia' sounds mellow.

A version of 'How Deep Is the Ocean?' from Miles' only other studio session with Oscar Pettiford is include here as a bonus track.

TRACK LISTING

1. Will You Still Be Mine?
2. I See Your Face Before Me
3. I Didn't
4. A Gal In Calico
5. A Night In Tunisia
6. Green Haze
7. How Deep Is The Ocean?

Miles first album for Warner records, and his first collaboration with Marcus Miller. 

TRACK LISTING

A1 Tutu
A2 Tomaas
A3 Portia
A4 Splatch
B1 Backyard Ritual
B2 Perfect Way
B3 Don't Lose Your Mind
B4 Full Nelson

First time on vinyl for this 2007 compilation to be released to coincide with the Miles Davis centennial.

TRACK LISTING

Tutu
Splatch
Catembé
Mr. Pastorius
Amandla
Mystery
Chocolate Chip
The Doo-Bop Song
Trumpet Cleaning
Siesta / Kitt's Kiss / Lost In Madrid Part II
The Pan Piper
Summertime
In A Silent Way
Time After Time
Hannibal

Legendary trumpeter Miles Davis was still near the start of his storied career when he cut the three sessions that comprise his Blue Note recordings in 1952, 1953, and 1954. Blue Note later compiled the tracks into two 12” LPs as part of the 1500 series. The music presents all the hallmarks of his early style from blazing bebop to beautiful ballads. This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original masters, and pressed on 180g vinyl at Optimal.

TRACK LISTING

Side A
1. Take Off
2. Weirdo
3. Would'n You
4. I Waited For You
5. Ray's Idea – Alternate Take
6. Donna

Side B
1. Well You Needn't
2. The Leap
3. Lazy Susan
4. Tempus Fugit – Alternate Take
5. It Never Entered My Mind

Though allegedly a Texas native, Milton Davis first recorded in Los Angeles in 1967 as a member of The Four Tempos. When that act split, he trekked up the coast in stages, eventually settling in Portland. Here he secured the lead vocal role for local scene heroes, Slickaphonic. Though a full album of their own was taped, another reel of material was cut centred on Milton as a solo artist. Neither set of tracks saw release in their day, but from the latter collection we've pulled a bona fide 1977 disco-soul smasher and a mid tempo flipside with a sheen that belies its depth. First time ever on 7" 45, dinked centre hole with picture sleeve, 500 numbered copies only.

TRACK LISTING

1. Headed For The Disco
2. All I Want To Do

This 7-inch singles features a previously unreleased cover of Bob Marley's iconic 'Sun Is Shining', performed by the prolific Jamaican singer Ronnie Davis of The Itals and The Tennors. The multi-track tape was famously mixed by Prince Jammy into the popular 'Jammys A Shine' dub, without any vocals. More recently, Prince Fatty mixed his version 'Dub Is Shining' for the acclaimed 'Prince Fatty Meets The Gorgon' album (VP4246) in 2023.

The vocal was never mixed or issued, for reasons unknown, but with Prince Fatty's usual magic touch, it finally finds its way to the public after nearly five decades. Ronnie Davis, 1950-2017, was one of Jamaica's beloved voices during his long career. He was better known as a member of the rocksteady group The Tennors, and later with The Itals, but during the 1970s he was on of Bunny Striker Lee's top vocalists.

TRACK LISTING

1. Sun Is Shining
2. Dub Is Shining

2023’s 'Dancing On The Edge' was quickly beloved by those who stumbled upon it, earning high praise from publications like Pitchfork & The Line Of Best Fit, who deemed it a “remarkable, endlessly rewarding debut.” His second album, 'New Threats From The Soul', reckons mightily with the perplexities of human efficacy and agency in an absurd and debased world. This probably sounds hopelessly plodding and severe. It is not—not remotely. It’s a shit-ton of fun. The songs are all earwigs; the arrangements genuinely thrilling, enlivening efforts by the crackerjacks that comprise the sprawling Roadhouse Band. Each trip through the record reveals more of the depth and breadth and tangle of its tapestry.

Across 'New Threats…', Ryan manages near-rhymes that a hundred years’ worth of monkeys labouring at Chat GPT-enabled typewriters couldn’t achieve: “bromeliad” and “necrophiliac”; “urinal” and “de Chirico.” Kinky Friedman lamented that people thought his funny songs were sad and his sad songs were funny, when they were both simultaneously. Like the Kinkster, Ryan can make you laugh through a lump in your throat. In his formidable crew of harmony singers there are four of the most gifted lyricists & vocalists to currently walk among us—Catherine Irwin, Will Oldham, Lou Turner, Myriam Gendron— which testifies to the profound heft of his writing (these folks don’t often sign up to sing pap).

'New Threats From The Soul' is a masterclass in reducing the sublime to the prosaic, immensity to infinitesimally, and vice versa (the trick can only work both ways). Everything in our universe is essentially flotsam or jetsam, rubbish heaps of fragments and shards. We, especially, are jerry-rigs of bubblegum and driftwood, inconsistencies and incoherencies, dead dreams and necrophagous hopes, “mismeasurements between the place where [we are] and the place where [we] could have been,” although somehow not—miracle of miracles—bereft of simple joys, as Davis sings on today’s single.

The record functions in parallel with Kafka’s winking dictum that there is an infinite amount of hope in the universe, just not for us. 'New Threats…' suggests that maybe, just maybe, something like redemption is possible, but only once we’re entirely emptied out and hawked in toto down at Walden Pawn.

STAFF COMMENTS

Barry says: Organic sounding flickers of acoustic guitar and snappy percussion underpin the beautifully harmonised vocals and swooning slide guitar. While there are moments of thoughtful minimalism, it merely offsets the jubilant melodic intensity of the rest of the LP. Beautifully uplifting and summery sounds throughout.

TRACK LISTING

1. New Threats From The Soul
2. Monte Carlo / No Limits
3. Mutilation Springs
4. Better If You Make Me
5. The Simple Joy
6. Mutilation Falls
7. Crass Shadows At Walden Pawn

"At the frayed bottom-edge of Indiana – just a moderate bike ride north of Louisville, Kentucky – multi-instrumentalist, artist and songwriter Ryan Davis’’ Americana-noir soundwaves have been emanating for years in a myriad of forms. As driving force for the lauded State Champion, long-running member of Tropical Trash, administrator of the esoteric and excellent Cropped Out festival, and lone proprietor of the Sophomore Lounge label, Davis lays down his first proper ‘solo’ release with Dancing On The Edge, a rich, 2LP tapestry of tunes that absolutely glows over seven expansive cuts. It’s a pure collage of modernity and heritage.

After a period of introspection spent re-immersing himself in his drawing & painting practice, as well as his newfound delvings into instrumental music, Davis’ sea change was imminent. “I wasn't sure I would ever make another record of ‘song’ songs,” he says, “but last year I started writing again and it eventually took the shape of the record at hand. I worked painstakingly hard on the material. It felt virtually impossible to complete for a bulk of the time I spent trying to enter into it, but the process pulled me out of a strange place. I was eventually able to live inside of the songs enough to understand the world within them – to ultimately help shape them into what I understood them to be.” Indeed, there’s a load of inspiration captured in the grooves with Ryan’s unfiltered, folk-traditioned approach to poetic twists-of-tongue meeting head on with sublime instrumentation.

TRACK LISTING

1. Free From The Guillotine (08:22)
2. Learn 2 Re-Luv (06:03)
3. Flashes Of Orange (09:56)
4. Bluebirds In A Fight (07:07)
5. Junk Drawer Heart (06:25)
6. A Suitable Exit (09:20)
7. Bluebirds Revisited (03:57)

Shirley Davis is centered, feet firmly planted and gazing right on into the future. The powerful soul singer takes no prisoners and holds no regrets on her third album, Keep On Keepin' On. As Shirley Davis & The Silverbacks, Davis harnesses the power of soul mothers past as well as her own history to deliver a record that rollicks from soul serenade to rocking ballad, then brings it on home with hard stepping soul.

Keep On Keepin' On embodies the best of the modern soul tradition, while showcasing a unique voice in its growing canon. Conjuring classic soul and funk sounds of the 1960s and '70s, as well as the mighty Sharon Jones – whose last words to Davis provide the album title -- Shirley Davis & The Silverbacks' latest is a highly personal tale of empowerment and self-realization, served up without losing an ounce of grooviness.

TRACK LISTING

1. Culture Or Vulture
2. Wild Girl
3. Keep On Keepin' On
4. Love Insane
5. It's All Right
6. True People
7. Outdoor
8. Stay Firm
9. So Much To Me
10. Take Out The Trash
11. Still Young

In 2011 Dawes released their highly anticipated sophomore album ‘Nothing Is Wrong’.

Produced and mixed by Jonathan Wilson, ‘Nothing Is Wrong’ built on the band’s sun-drenched, Laurel Canyon sound with rock solid songwriting and beautiful Crosby, Stills and Nashstyle harmonies.

The album was met with near universal critical-acclaim and catapulted the band’s career. With ‘Nothing Is Wrong’, Dawes staked their flag

TRACK LISTING

‘Nothing Is Wrong’
Time Spent In Los Angeles
If I Wanted Someone
My Way Back Home
Coming Back To A Man
So Well
How Far We’ve Come
Fire Away
Moon On The Water
Million Dollar Bill
The Way You Laugh
A Little Bit Of Everything

Bonus 7”
Strangers Getting Stranger
Rest Easy

Angel Bat Dawid's International Anthem debut 'The Oracle' introduced her multifaceted voice to the world. The response to its modest, initial cassette/digital release in January of 2019 was immediate, and immense. Within a month of its announcement, Dawid was being featured on magazine covers and receiving offers from international festivals; and her subsequent activity marked the beginning of an epic run of creative output (including 2020's 'LIVE' double LP, the same year's EP 'Transition East', 2021's 'Hush Harbor Mixtape Vol. 1 Doxology', and the sprawling opus 'Requiem for Jazz', released in 2023) that continues through the present.

The collection of compositions on The Oracle present a deep blend of powerful and emotive songs alongside heavy and free improvisation. In true DIY fashion, Dawid recorded and mixed the album using only her cell phone.

"Angel's fieldnote approach affirms that the everyday remains a legitimate site of creative production," says South Africa based percussionist, collaborator, and IARC labelmate Asher Gamedze in his liner notes for the album's IA11 Edition. Gamedze - the only other musician to appear on 'The Oracle' besides Dawid, who constructed most of the album's tracks by layering, overdubbing, and arranging lo-fi symphonies of her own voice, wind instruments, percussions, and keyboards - waxes extensively about Dawid's significance in his notes, calling her "a living exemplar and extension of the spacious sonic horizons opened by the likes of the AACM and their refusal of any limitations on their creative vision and the destruction of the demarcation between composer and improviser."

TRACK LISTING

1. Destination (Dr. Yusef Lateef)
2. Black Family
3. What Shall I Tell My Children Who Are Black (Dr. Margaret Burroughs)
4. Impepho
5. We Are Starzz
6. London
7. Capetown (feat. Asher Simiso Gamedze)
8. The Oracle

Reveries is Zach Frizzell, Marc Ertel and Damien Duque’s first album for over three years, and follows the success of their debut Liberamente. Together, the trio craft delicately textured and slowly unfurling sonic vistas, occupying a unique aural domain that lies between guitar-driven drone music and modern classical compositions.

With their individual projects they are incredibly prolific, but Dawn Chorus releases are few and far between and Reveries represents a refined evolution, leaning more heavily toward string-based arrangements and compositional virtuosity. It is the very essence of what they are calling “dronegaze”, pushing the boundaries of the ambient genre while embracing a profound auditory expression.

According to the trio, the six, long tracks on Reveries are “heavily reliant on improvisation, intuition, and allowing the compositions to exist in their own moment; the aim was a feeling of fluidity and a sense that every instrument has its place and purpose”.

And they’re right. The opening title track emerges quietly in a swirl of strings; lead single ‘Deus’ eases its fittingly reverent grain into a glorious minor-key immensity; ‘Cadere’ pulls together a cast of orchestral instruments into a comforting devotional; ‘Somnium’ plays out in diffuse, shimmering melodic rounds; ‘Vale’ blossoms from a pair of sparse, alternating chord swells; and ‘Aufero’ is the perfect coda that reprises the low-end rumble of the album’s overture before being swept away on a sea of dissonance.

“We live in an era of infinite distraction,” says Zach Frizzell, “where often the most valuable thing you can find is a respite for the soul.” How right he is. This, truly, is music from a higher place.

TRACK LISTING

1. Reveries
2. Deus
3. Cadere
4. Somnium
5. Vale
6. Aufero

Channelled madness – the sound Dawn of Midi spent years shaping is culminating into their most mesmerising work yet.

With Dysnomia, the Brooklyn-based group Dawn of Midi abandons improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, but when stepping back an undulating image reveals itself. “We didn’t want to create anything cerebral,” says Belyamani, “we wanted something visceral, something that would awaken our instinctive dance impulses.”

Having met at California Institute of the Arts in Los Angeles in 2006, bassist Aakaash Israni, pianist Amino Belyamani and drummer Qasim Naqvi found their original rapport through late night tennis matches on the campus court. The chemistry they founded there eventually led them back indoors to improvise together; something they did in total darkness to deprive themselves of all their senses except the crucial one – their hearing.

The manner, by which a trio of solely acoustic instruments ends up sounding like electronic music, has to do with the unconventional ways the group play their instruments on Dysnomia. The record comes to life in the trio’s critically acclaimed live shows, a test of endurance and trust that involves performing their hand-looped acoustic minimalism note for note, just as the compositions were recorded. Dawn of Midi’s sets are as energetic and rhythmic as a seamlessly mixed DJ-set, mesmerising fans in the same way the group’s favourite experimental and electronic acts have for decades.

The album was recorded to 2-inch tape at Waterfront Studios in Hudson, New York - a former church that was purchased and transformed into an analogue recording playground by the great engineer Henry Hirsch. Once the band visited the studio and met Henry, an expert in analogue recording equipped with a vintage Helios console, 16 and 24-track tape machines and a superb collection of microphones, it was obvious they had to record there; it was miles ahead of anywhere else they had visited. Rusty Santos then mixed the album to make sure it would hit as hard as the group’s favourite electronic albums do in spite of it being entirely acoustic.

“We wanted to make a record that sounded both musically futuristic and sonically vintage,” explains Israni, “and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting.”

Lynda Dawn and XL Middleton collaborate on boogie 7" 'Roses' for Extra Soul Perception. London soul singer Lynda Dawn returns with her first release since being tipped by The Guardian as one of their 'Ones To Watch' in 2021.

Following her participation in the first ESP writing camp in Nairobi 2019, 'Roses' was originally released on 'New Tangents…Vol. 1' EP alongside four other tracks with artists from the UK, Kenya and Uganda.

As part of the label's commitment to international collaboration, 'Roses' 7" brings two artists together for the first time, united by their love for boogie. To accompany the original, Lynda collaborated remotely with L.A. producer and record shop owner XL Middleton for an up-tempo flip, mixing g-funk and 90s RnB.

The 'Roses' 7" is Extra Soul Perception's second release of 2021, following on from 'Bad Meditation', the debut album from former Electric Wire Hustle frontman Mara TK.

STAFF COMMENTS

Millie says: Ooooft! Now this is the definition of smooth. Ultimate silky disco/hip hop tune to boogie on down to. An absolute dream!

TRACK LISTING

1. Roses (7" Version) [feat. BesKept]
2. Roses (XL Middleton Version) [feat. XL Middleton]

There's always a place for strong songs, well sung and played and Julian Dawson's "Hillbilly Zen", his fifteenth and latest album is one of these. It's different from anything he's done before here you'll find bluegrass, country music, soul ballads, blues and even rockabilly - all self-penned too. Who better to help him do it right than ex-Byrd Gene Parsons, one of Dawson's 'musical heroes', Parsons plays acoustic and electric Stringbender guitars, banjo, pedal steel guitar, mandolin, drums and percussion, spoons, bass, harmonica, hi-strung guitar and harmony vocals. The result is an excellent 'americana' album from Londoner Dawson.

Rising up from the bed of the River Tyne, a voice that crumbles and soars, steeped in age old balladry and finely-chiselled observations of the mundane.

Richard Dawson is a skewed troubadour at once charming and abrasive. His shambolically virtuosic guitar playing stumbles from music hall tunesmithery to spidery swatches of noise-colour, swathed in amp static and teetering on the edge of feedback.

His songs are both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown.

New album ‘Nothing Important’, released by Weird World, hypnotises from its tender dark whispers to its wild screams, an unparalleled voice in today’s over-preened and manufactured music world.

TRACK LISTING

Judas
Nothing Important
The Vile Stuff
Thomas

Tip-top of our osmosis list is the first quiver of tunes from Brigid Dawson and her newly minted Mothers Network: wise warnings dyed in dark hues, knotted and hard-won torch songs from the edge of a turbulent sea, bittersweet balladry spun in defense against evils familiar and unknown. Lovely though it may seem from a distance, the striation of loss quicksilvered throughout provides weighty balance to her contralto lilt. Those familiar with her harmonic counterpoint from her time in Thee Oh Sees or in OCS know she can belt as well as lullaby but there’s a fresh and smolderingly heavy swing in her step on display here that we mightily dig.

“Ballet of Apes” tapestries together sessions that read like a who’s who from outside our own castle walls - in Australia with Mikey Young (Total Control/Eddy Current Suppression Ring), in San Francisco with Mike Donovan (ex Sic Alps), Shayde Sartin (ex Fresh & Onlys/lifetime ringer) and Mike Shoun (ex Oh Sees/Peacers), and in Brooklyn with instrumental heavy-weights Sunwatchers - and the results are spellbinding. At the focal point of this maelstrom, our lady, as if illumed by candlelight, intones, pleads, consoles - white magic perhaps but it carries with it the anodized tang of blood. 

TRACK LISTING

1. Is The Time For New Incarnations
2. The Fool
3. Carletta’s In Hats Again
4. When My Day Of The Crone Comes
5. Ballet Of Apes
6. Heartbreak Jazz
7. Trixxx

Julie Dawson is lead singer/songwriter of Galway-formed band NewDad. Whilst on hiatus in between albums, she connected with electronic producer Jack Hamill (aka, Space Dimension Controller). The resulting album project, 'Bottom Of The Pool', takes a sonic detour from Julie’s work with NewDad, allowing her to express her songwriting and vocals in a new and otherworldly context built by Jack.

The album, with its central theme revolving around escapism, reflects Julie’s desire to create something entirely separate from her daily routine. This sense of freedom allowed both Julie and Jack to explore new artistic territories without any expectations, resulting in a looser creative process for the pair. The album's narrative captures this essence, landing as a deep and immersive record that transcends the mundane.

TRACK LISTING

1. Bottom Of The Pool
2. Close The Door
3. I Get Lost In This House
4. Ripples
5. Silly Little Song
6. Hailee
7. ATF
8. Finale

A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and international roots artists. "It's Time" blends spiritual Afro-jazz groove with free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.

Phil Dawson is a top London guitarist who has worked and schooled himself extensively in many different African, Latin and Brazilian music traditions together with styles that more typically cross the radar of someone with a similar British background: roots reggae, punk rock, blues, soul, R'n'B, jazz and funk. As a sideman, he's played with a host of living legends of Afro-fusion music including South African jazz trumpet giant Hugh Masekela, Nigerian afrobeat co-creator Tony Allen, Ethiojazz pioneer Mulatu Astatke, the Algerian "king of rai" Khaled, and London based Ghanaian afro-rock dons Osibisa. Heavy company for sure.

Now he's releasing a new mini 6 track album of original compositions under his own name and band - Phil Dawson ٤-tet - and he's joined by a stellar cast of London's finest players who include Rowland Sutherland (flutes - Airto Moreira, David Murray, Carla Bley), Khadijatou Doyneh (spoken word - The Heliocentrics, Danny Keane), Gaspar Sena (drums - Alfa Mist, Maria Chiara Argiro), Marius Rodrigues (drums - Oriole, Hermeto Hermeto Hermeto), Lekan Babalola (percussion - Cassandra Wilson, Ali Farka Toure) and Matheus Nova (bass - Antonio Forcione, Ed Motta, Jazzinho). Phil himself features on guitars, Fender Rhodes and piano.

TRACK LISTING

1. It's Time (Radio Edit)
2. Gnostic Hilife (Nag Hammadi Re-Edit)
3. It's Time (A.K.A. Ouaga Mama)
4. Gnostic Hilife (Flute Edit)
5. It's Time (Fully Spoken)
6. Gnostic Hilife (Original Edit)

Richard Dawson is the diminutive Geordie troubadour whose moving songs have been described as state-of-the-nation addresses, even — or perhaps especially — when he’s singing about pre-medieval peasants. Circle are the genre-straddling pioneers of The New Wave Of Finnish Heavy Metal, known for wearing spandex or dead fish onstage and singing in a made-up language.

Together they are… Richard Dawson & Circle! Today, we are pleased to announce news of their collaborative album Henki, due November 26th via Weird World. Their epic joint record might seem a departure to those who are most familiar with Dawson from recent solo albums like 2017’s Peasant and 2020 (released in 2019). In fact, Henki fits comfortably into the bigger picture of two acts who have always strived for uninhibited originality.

Dawson explains the album’s title: “The word 'henki' roughly translates as 'spirit'. It's a very rich word, supple in its meaning in the same way as the Geordie 'canny'; difficult to pin down.” True to its name, while Henki is influenced, in part by heavy-metal bands, it does not sound like any metal album you will have heard before. For one thing, few metal albums are filled with songs about plants. Inspired by Circle’s guitarist Janne Westerlund instructing the group during recording to be less straightforward and more “like a plant”, each of Henki’s seven tracks deal with special plants throughout history.

As mutual fans of each other, Circle and Dawson originally hit off it via Twitter, which led to Dawson being invited to accompany Circle for their set at Helsinki’s Sideways Festival in 2019. Dawson recalls the moment: “It was like being a teenager and suddenly being asked to go onstage with Iron Maiden. That’s how important this band are to me”. Having pulled that off, they started exchanging demos before they finally got in a room together to set off on their journey proper. Most of the recording took place in Pori - a fine jewel of a city on Finland's balmy west coast - across several visits, the last being in late January 2020 just as Covid-19 first reached Europe. From there they had to finish Henki remotely - via waves of pure thought beamed across the dark dividing oceans betwixt them, and email.

Easily the greatest flora-themed hypno-folk-metal record you’ll hear this year, Henki adds an electrifying new chapter to the remarkable story of each act, and marks the beginning of a beautiful partnership. Circle, described as "the world’s greatest band - in every category” are Pekka Jääskeläinen (guitar), Julius Jääskeläinen (guitar), Jussi Lehtisalo (bass, voice), Mika Rättö (keyboard, voice), Tomi Leppänen (drums) and Janne Westerlund (guitar, voice). Richard Dawson plays guitar and vocals. Henki was mixed by Antti Uusimäki and mastered by Christian Wright.

Richard Dawson, the black-humoured bard of Newcastle, returns to release his sixth solo album 2020, his first since the critically acclaimed, Peasant. 2020  is an utterly contemporary state-of-the-nation study, that uncovers a tumultuous and bleak time. Here is an island country in a state of flux; a society on the edge of mental meltdown.

On 2020, Dawson introduces us to grand themes through small lives. His are portraits of human beings struggling with recognisable (and dare we say it, relatable) concerns, conflicts and desires, each reminding us that tragedy and gallows humour are not mutually exclusive, and that the magical can sit next to the mundane. Lyrically it is by far Dawson’s hardest-hitting and unflinchingly honest album to date. It is his poetic masterwork.

Within, we find disgruntled civil servants dreaming of better days, anxiety-addled joggers listlessly searching Zoopla for houses they cannot afford in their spare time, amateur footballers who think they’re Lionel Messi and beleaguered pub landlords battling rising floodwaters.

Here is life, in all its strange and wonderful ways.

STAFF COMMENTS

Barry says: Massive stadium rock choruses and strolling folk meet headfirst in this decidedly odd but absolutely on-brand distillation from Richard Dawson. Fiercely political but with a wry humour and unmissable melodic drive (an often overlooked aspect of the more 'humorous' releases) coupled with Dawson's flawless delivery and brilliant ear for a progression make this his most direct and essential release yet.

The title of Richard Dawson's new album End of the Middle is a suitably slippery contradiction, one that invites multiple interpretations: Middle-aging? Middle-class? The middle-point of Dawson's career? The centre of a record? Centrism in general? Polarisation? The possibility of having a balanced discussion about anything? Stuck in the middle with you? Middle England? Middling songwriting?

End of the Middle is a wonkily beautiful peer into the workings of the family unit, perhaps several generations of the same family: "I wanted this record to be small-scale and very domestic", Dawson explains, "to be stripped back, stark and naked, and let the lyrics and melodies speak for themselves and for the people in the songs". By paring things right back what is revealed is a suite of remarkably poised, oddly elegant, beautiful music.

STAFF COMMENTS

Barry says: There is no predicting what Dawson will do next, a collaboration with a Finnish metal band? A 45-minute one-song gig? It's all fair game in Dawsonland (Newcastle), as is going back to his roots a little and crafting something that's as mundane as it is beautiful. Small scale stories of working class life, karaoke and love drenched in his unique sensibilities. Brilliant.

TRACK LISTING

1. Bolt
2. Gondola
3. Bullies
4. The Question
5. Boxing Day Sales
6. Knot
7. Polytunnel
8. Removals Van
9. More Than Real

Pop in your earpiece, close your eyes and embrace the wonders (and horrors) of augmented reality and prepare to travel 500 years into the future as Richard Dawson returns with…The Ruby Cord. These seven tracks plunge us into an unreal, fantastical and at times sinister future where social mores have mutated, ethical and physical boundaries have evaporated; a place where you no longer need to engage with anyone but yourself and your own imagination. It’s a leap into a future that is well within reach, in some cases already here. 

STAFF COMMENTS

Barry says: Richard Dawson hits the legendary Domino once again for a new album of wonderfully off-piste songwriting, both wildly inventive and full of stylistic turns that he alone pulls off so seamlessly. I admit that I didn't quite get Dawson's music for a while, but I definitely do now, and this is for my money, his finest work to date.

21-year old Howie Day is a new singer-songwriter from the US who supported Tori Amos on her 2003 tour. Those who saw him in Manchester saw a talented musician armed only with an acoustic guitar, who uses an array of delay pedals to create and control an invisible band. He slaps his guitar for a backbeat, picks the melody out on a couple of strings and sings his own backing vocals. The sounds bounce around until Day pulls them all together with his guitar and soaring voice like a latter day John Martyn. Inspired by the emotionally raw songs of Jeff Buckley or Richard Ashcroft, they are full of broken hearts, regrets and loss and this debut does have a dark tone, but Day is one of those artists that will just get better and this is a good beginning.

Acid Jazz subsidiary Countdown Records presents a new release from Graham Day: ‘Master Of None’

The former Prisoners front man emerged in the Bill Childish / Medway scene. While not enjoying the recognition and commercial success of some of his contemporaries at the time, he has emerged as one of the most enduring and prolific songwriters of the era.

‘Master of None’ is a unique addition to the Graham Day canon, featuring 12 new songs, with all instruments recorded entirely by the man himself - a measure of the depth of talent on display and his continuing creative vision.

Daybreakers are a collective of Leeds based musicians formed from the ashes of The Touch, a psych/garage outfit. They play feel good music with influences ranging from blues, 70s prog, krautrock, sci-fi, jazz, funk and classic 60s pop. Their debut EP "The Dawn Approaches" has been carefully crafted with the guidance of experimental genius/producer Richard Formby who has previously worked with Mogwai, The Haggis Horns, The Blueskins, Spacemen 3, The Telescopes and Wild Beasts.

There’s an old trope about the last day of summer vacation; that it represents access to endless, effortless joy. But it’s not really like that at all. Just ask Payson Power, the guitarist and creative force behind Toronto’s Daydream Plus. "Growing up, whenever I’d see a film that takes place on the last day of summer, I’d be like, ‘You’re already at the depressing part!’ The good part is the second-to-last day of summer, because it’s the last day you can live consequence-free.” That moment, where you can still watch movies and play video games until the sun comes up, is what inspired Power to write Daydream Plus’ first full-length album, 'Second Last Day of Summer'. What makes that day so beautiful is, subconsciously, you know it’s all about to come to an end.

After a lifetime spent playing heavy music, Power formed Daydream Plus in 2020 as a way to explore melodic, catchy compositions, indulging influences he’d only been able to access in brief flashes. After two EPs where the Toronto trio existed in the narrow overlap between intricate math rock and urbane city pop, Power slowly expanded his scope. Taking bits from video game soundtracks, energetic anime scores, and even chords yanked straight from the Steely Dan songbook, 'Second Last Day of Summer' sees Daydream Plus building a more richly detailed world. Aided by Power’s fellow Tomb Mold bandmates, drummer Max Klebanoff and bassist Kevin Sia, the trio work to take the spirit of Don Caballero and apply a sheen of smooth jazz atop it.

TRACK LISTING

1. Tutorial
2. Metropolitan Mirage
3. Speed Limit
4. Lockpick
5. Emergency Exit
6. More Time Alone
7. Stiletto Flourish
8. Nautical Twilight
9. Undertow
10. Hard to Destroy
11. Constellation
12. Wave Goodbye

Following the instant sell-out of 'MT. FUJI FM' (featuring Gilles Peterson) - The Yussef Dayes Experience returns for 'LIVE FROM MT. FUJI' on standard black vinyl, with music only. The project includes live performances of both pre-released favourites and brand-new compositions, featuring the extraordinary Japanese vocalist / virtuoso Minami Kizuki from Amami Island, on vocals and Sanshin (a traditional three-stringed, long-necked instrument, unique to the region).

TRACK LISTING

1. Chasing The Drum
2. Turquoise Galaxy
3. The Light
4. Amami (feat. Minami Kizuki)
5. Fuji Yama (feat. Minami Kizuki)
6. Chi Ave/ A Love Letter To Salvador
7. The Colour Purple

‘Black Classical Music’ is a 19-track record taking listeners through a looking glass into the exalted artist’s past and present whilst exploring themes of home and family. The album draws influence from his musical heroes Miles Davis & Rahsaan Roland Kirk and Yussef’s extensive travel around the globe that has deepened his study of rhythm.

Honourable features on “Black Classical Music” - Chronixx, Jamilah Barry, Tom Misch, Shabaka Hutchings, Miles James, Sheila Maurice Grey, Nathaniel Cross, Theon Cross and the Chineke! Orchestra, plus Venna, Rocco Palladino, Charlie Stacey & Elijah Fox

STAFF COMMENTS

Barry says: Oooof, this is an absolute wealth of rich groove and the seamless pulling together of myriad influences from drummer and renowned London jazzer, Yussef Dayes. Filled with collaborative talent, 'Black Classical Music' manages to draw from a wealth of sound worlds without breaking step. Afrobeat, soul funk and jazz fans take note.

TRACK LISTING

A1. Black Classical Music Ft. Venna & Charlie Stacey
A2. Afro Cubanism
A3. Raisins Under The Sun Ft. Shabaka Hutchings
A4. Rust Ft. Tom Misch
A5. Turquoise Galaxy

B1. The Light Ft. Bahia Dayes
B2. Pon Di Plaza Ft. Chronixx
B3. Magnolia Symphony
B4. Early Dayes
B5. Chasing The Drum

C1. Birds Of Paradise
C2. Gelato
C3. Marching Band Ft. Masego
C4. Crystal Palace Park Ft. Elijah Fox
C5. Presidential Ft. Jahaan Sweet

D1. Jukebox
D2. Woman's Touch Ft. Jamilah Barry
D3. Tioga Pass Ft. Rocco Palladino
D4. Cowrie Charms Ft. Leon Thomas & Barbara Hicks 

DBFC - aka the duo comprised of Manchester born David Shaw and Parisian Dombrance - release their debut album ‘Jenks’.

The pair met in 2012, drawn together by a Parisian underworld that flitted between techno and psychedelia, club culture and rock mythology. Refusing to place down boundaries, the two simply went into the studio, turned on their equipment and jammed - debut album ‘Jenks’ followed naturally.

Reminiscent of Primal Scream’s halcyon era, or New Order’s ground-breaking run of 12” singles, DBFC thrive on the intersection between electronic and organic.

TRACK LISTING

Jenks
Bad River
Disco Coco
In The Car
The Ride
New Life
Autonomic
Staying Home
Sinner
The Rest Of The World

New one on cult Yorkshire label Golden Lion Sounds featuring renowned Manchester finger picker DBH (previously of Crowfoot and Thread Recordings). One of the most skillful acoustic guitarists I've ever had the pleasure of witnessing, his tracks of late have taken on a dreamy, enchanted elegance, which is the case here on "Jumbled Whole". A collage of serene strings, echoed artifacts and gentle strums guiding the mind through a blue sky vista filled with fluffy clouds and dancing daisies. Taking it straight to the meadows!

On the flip, The Utopia Strong, previously releasing on Rocket, swap the guitars for synthesizers and enter a psychedelicized alternative realm - with gated arpeggios, winding melodies and galloping drums creating the sense of a magic carpet ride through entity-rich dimensions and realities much more vast and grandiose than our own. 

STAFF COMMENTS

Matt says: I've been a long term fan of DBH - imbibing the spirit of John Fahay, Jack Rose, Bert Jansch etc - into modern finger picked soundscapes. The Utopia Strong are a new one on me - totally different in sound; but similarly, they conjure up imaginary dream worlds from their equipment of vintage synthesizers and rickety drum boxes. One of my favourite 7" sleeves the label have produced too!

TRACK LISTING

A. DBH - Jumbled Whole
B. The Utopia Strong - Gatekeeper

Second release from this singer songwriter, described by himself as, 'a diverse collection of thoughts and opinions.... what all good music should be.'

After two EPs, singer songwriter Dboy releases his first mini album. A collection of finely crafted acoustic tracks covering topics as diverse as gang violence to the triviality of the Pop Idol craze!

Debut EP from Dboy. Four melancholic acoustic tracks.

As inspired by the unvarnished portraiture of Martin Parr as he is Ballardian grotesquerie - and by the seedy witticisms of Jarvis Cocker and arch art-pop commentary of Neil Tennant, Gore’s music sits proudly within a rich tradition of distinctively British disrupters. Skewering notions of national identity with a vivid mix of pin-sharp satire in an expansive palette of synthesising new wave art-rock, Gore effortlessly creates songs that are as ingeniously calculated as they are dance-inducing.

High-grade Shed in sub-heavy stepping, to no-fuss direct techno form. Occupying its own completely unique space on the sound field, but still hitting all the necessary biological receptors that us humans possess for maximum dancefloor enjoyment - Tip!

STAFF COMMENTS

Matt says: Shed masterfully crosses the streams here with a futuristic piece of nightclub engineering on "The Net". "Trophy" see him opt for a heads-down, flat-lined thudder in a similar vein to early Skudge. Bunker busters!

TRACK LISTING

A1. The Net
B1. Trophy

Into The Light take another trip into the annals of Greek electronica, stopping by Akis' Athenian home for a special 12" treat. Though last year's "Space, Time And Beyond" anthology was a fairly exhaustive (and frankly brilliant set), it all but ignored the composer's contributions to the Greek house scene, most notably Aegean anthem "Giant Step", released under the D.E. moniker. This slice of early nineties action sweeps through baroque string arrangements, slow rolling breakbeats and acid-tinged undulations, coming on like an extra ethnic relation of Tranquility Bass. Beaty yet breezy, this coastal killer is a classic in Greece, and more than deserves wider attention. If that wasn't enough to have you snatching a copy, the flip hits us with an earlier 80's demo version, recorded round Vangelis Katsoulis' gaff. To be honest, though they share the same name, the two tracks couldn't be further apart, the "Demo" mix ditching the breakbeat and colling flute trills in favour of Laswell style bass, unconventional percussion and outrageous sampler abuse. Explosions, machine gun fire, concerned chickens and arcade game idents all rebound around the soundstage, decorating the consistently off-kilter rhythm section until the woodwinds, mallets and arps take us skywards.

STAFF COMMENTS

Patrick says: Yet another killer on the Into The Light imprint, as they follow their Akis anthology with a 12" of his club leaning compositions. The A-side plays host to the Balearic breakbeat of Aegean classic "Giant Step", while the B-side brings us the sampler-driven proto house strangeness of an 80's demo version - leftfield gold if ever I heard it.

TRACK LISTING

Giant Step (Club Mix)
Giant Step (Demo) 

For Fans Of... Adrian Quesada, Black Pumas, Chicano Batman, Brainstory, Drugdealer, Sugar Candy Mountain.

The sophomore album from Rudy De Anda, and a prolific follow up to 2020's 'Tender Epoch'. Produced by Adrian Quesada of the Black Pumas. Recorded in Austin, Texas at Electric Deluxe Recorders. LPs include digital download card. In 2020, Rudy De Anda moved his homebase out of California for the first time. He was headed East. Somewhere in the back of the U-Haul, among the boxes and baggage, was a mostly finished record. Upon arriving in Chicago, Rudy quickly found the final pieces of his new LP, Closet Botanist. The Electric Deluxe recording studio is owned and operated by Adrian Quesada (Black Pumas), who helped produce and engineer Rudy’s new LP.

“In the past, I’ve done most of my recording in California,” Rudy explained. “The new location changed the vibe. The band and I were 100% focused on the process.” Rudy’s previous releases have grown synonymous with California sunshine. He was born in Los Angeles and spent most of his formative years in Long Beach. “People often tell me my music reminds them of the beach and the sun,” Rudy said of his older songs. Closet Botanist isn’t a total departure from Rudy’s beachy, psych-rock roots, but it does sound more mature. Rudy points to The Velvet Underground and The Kinks for direct inspiration. “I glorify those bands I’m a 60s psych-rocker at heart.” For the seasoned listener, there’s a trail of psychedelic breadcrumbs to find throughout the track list. Rudy dedicates the album to those who love so hard that they neglect to water their own garden. Even in a much colder climate, the closet botanist continues to grow. 

TRACK LISTING

1. In My Shoes
2. Hey Mr. Sun
3. June Gloom (Smilin')
4. Miel
5. Tu Mirada
6. WYD
7. Por Ti
8. Coronado / Where Are You Baby
9. The Murder Mystery Pt. 2
10. I Can't Change You

FFO: Chicano Batman, Brainstory, Drugdealer, Sugar Candy Mountain.

Conceived in the 1980s in Mexico and brought to California through the border inside of his 6-month-pregnant mother, Rudy de Anda's debut solo record is a love letter to the long historical lineage of rock 'n roll music as interpreted through his multicultural lens. "I write my own story, I don't want to be defined by any scene" de Anda proclaims of his personal journey, and his ability to adapt and flit between cities and cultures is part of why L.A. Record has called his sound "deliberately difficult to classify, familiar but novel at the same time." Since 2005, De Anda has played thousands of shows in various musical projects, but with 'Tender Epoch', tellingly the first recorded under his own name, he has clearly found his own voice with a wealth of stories to spotlight. It's exquisitely crafted pop, with universal messages of heartbreak and loss that still feel appropriate played speeding windows-down on the highway in the coastal sunshine.

Above all, De Anda likes to keep people guessing: from the album artwork to the multi-faceted textures of sound, 'Tender Epoch' feels ambiguous to any era, a perfect collusion of old and new that showcases a music historian's knowledge of both past greats and influential peers. Sculpting his own path through a wild ride that feels unlikely to let up, De Anda refuses to settle down or get comfortable, instead carving out a classic record that is sure to set a standard for songwriting to come. The whole Colemine and Karma Chief family is proud to welcome Rudy De Anda and to present Tender Epoch.

TRACK LISTING

1. The Mirror
2. Los Canarios
3. Me Revulco En Tus Arenas
4. Tender Epoch
5. Espume
6. Cariño
7. It Didn’t Have To Happen
8. Helado
9. Tres Boletos
10. No Me Cruces
11. Cavallet Del Mar
12. I’m Still At The Bar
13. Abrasive

Angelo De Augustine returns with 'Angel in Plainclothes', his fifth album and most inspired work yet-a deeply felt rendering of his multi-year journey of healing and renewal. The record showcases De Augustine's powerful melodies and poignant lyrics across tracks like the haunting elegy 'Empty Shell', the hopeful 'Spirit of the Unknown', and standout psychedelic country piece 'Mirror Mirror'. Themes explore life's fragility, second chances, and picking up the pieces after an undiagnosed illness forced him to re-learn basic abilities: "I'm trying to figure out who I am now," De Augustine says. "I feel like I may have been given a second chance at life, and I'd like to live it."

Written, recorded, arranged, produced, and mixed by the artist at his recording studio A Secret Place in Southern California, the album marks his first time welcoming collaborators in years, including string arranger Oliver Hill (Kevin Morby, Helado Negro), harpist Leng Bian, background vocalist/percussionist Wendy Fraser, producer Thomas Bartlett (who produced De Augustine's 'Tomb', as well as St. Vincent, Bebel Gilberto), and co-producer Jonathan Wilson (Angel Olsen, Father John Misty) on 'The Cure'. The result is a powerful statement of hope: "One of the most helpful things that kept me going was the people in my life telling me that everything was ultimately going to be okay. I hope these songs end up having the same kind of effect on people out in the world, and help them know that miracles are possible."

TRACK LISTING

1. Empty Shell
2. Pet Cemetery
3. Spirit Of The Unknown
4. The Cure
5. Mirror Mirror
6. Cosmic Ride
7. The Universe Was Our Mother
8. With A Love So Kind
9. Pictures On My Wall
10. Goodbye Baby Blue

The fourth solo album from Angelo De Augustine, Toil and Trouble exists according to its own quixotic logic, inhabiting a psychic landscape as sublimely mystifying as a fever dream or fairy tale. In creating such an all-enveloping body of work, the Southern California-based artist spent nearly three years working alone and exploring the vast expanse of his imagination. “This album came from thinking about the madness of the world right now and how overwhelming that can be,” says De Augustine. “I used a sort of counter-world as a guide to try to gain some understanding of what’s actually going on here — I had to take myself out of reality in order to try to understand reality.” At turns bewitching and devastating and ineffably lovely, the result is the most visionary work yet from a singular songwriter, revealing his profound capacity to alchemize pain into extraordinary beauty.

TRACK LISTING

1 Home Town
2 The Ballad Of Betty And Barney Hill
3 Memory Palace
4 Healing Waters
5 The Painter
6 I Don't Want To Live, I Don't Want To Die
7 Another Universe
8 Song Of The Siren
9 Blood Red Thorn
10 Naked Blade
11 D.W.O.M.M.
12 Toil And Trouble

A quiet heartache threads through Tomb. It’s a universal feeling, the kind that piles up over the years and yearns for resolution. The 12 songs came together quickly, out of necessity following his first true heartbreak around Christmas 2017 -- and while Tomb was born from this breakup, the album expanded to explore years of loss and disappointment. Throughout, De Augustine sings of his first love (“Tomb”), attempts to reconcile possible past mistakes (“You Needed Love, I Needed You”), and reckoning with how personal and familial history impacts present and future relationships (“Kaitlin,” “Bird Has Flown”). Like the best albums about heartbreak, Tomb transforms pain into beauty. “This album is at its core a prayer for hope and clarity, and a prayer for love,” he says.

Ultimately Tomb reflects a beginning for De Augustine -- both emotionally and in his career. It’s a motion towards positivity, addressing lost love, the worthwhile cost of honesty, and the ramifications of regret. In the end, Tomb isn’t about burying or hiding something away, it’s about opening the seal and letting something new emerge. The album’s title reveals these sentiments: “Throughout our lives we bury many dead things in our hearts and minds,” he says. “There they go to rest and hopefully are reborn as something beautiful for the world to behold.”

TRACK LISTING

1. Tomb
2. All To The Wind
3. You Needed Love I Needed You
4. I Could Be Wrong
5. Tide
6. Kaitlin
7. Time
8. Somewhere Far Away From Home
9. Wanderer
10. A Good Man’s Light
11. Bird Has Flown
12. All Your Life

Singer and actress Fafá de Belém is one of Brazil’s most beloved and popular artists. This vinyl single from 1975 marked the very beginning of her long and successful career in Brazilian popular music and, over the years, has become a highly sought-after collector’s item among DJs worldwide.

The record features two tracks, ‘Êmoriô’ and ‘Naturalmente’, written by João Donato alongside Gilberto Gil and Caetano Veloso, originally released on his album 'Lugar Comum' that same year. Fafá de Belém’s versions, however, strip away the originals’ sophisticated arrangements in favor of a more driving groove and a raw, funky edge that makes them absolute dancefloor weapons.

After decades of eluding most collectors at a reasonable price we're excited to make this incredible single available once again. 

TRACK LISTING

1. Êmoriô
2. Naturalmente

‘Il Viaggio’ is an offering, a quest for musical, physical, and spiritual renewal, born from an emotional memory awakened. Joining the concrete and ambient, it drifts from the natural sounds of a new day towards a dreamed world.

Taking to the road to reinvent oneself is the common thread running through this album, which is organized as a sonic journey in two parts, Lay Your Ear To The Rail (Disc 1) and The Chaos Azure (Disc 2).

TRACK LISTING

1 Lay Your Ear To The Rail
2 Nonnarina
3 Il Vento
4 We Never Kneel To Pray
5 I'm Looking For
6 Mi Ricordo Di Te
7 Chiesa
8 Now Is Narrow
9 San Liberatore
10 The Chaos Azure
11 Alba

Copenhagen-based songwriter and producer Erika de Casier has announced details of her second full-length studio album. Sensational, which includes recent singles ‘No Butterflies, No Nothing’ and ‘Drama’

Sensational expands the universe of de Casier’s 2019 self-released debut album Essentials. Where Essentials dealt more with the infatuation stages of love, Sensational has more of an attitude, aiming to dismantle the stereotype of single women looking for love, tackling relationship dramas and the toxicity of dating. It was a chance to rewrite scenarios in ways that empowered her, fantasising about what could’ve been. Sensational was co-produced by de Casier and is a breath of fresh air to anyone with a passion for music in all its genres, as much influenced by Aaliyah and Janet Jackson as house, garage and techno. With hushed, pillow-soft vocals and production that references turn-of-the-millenium sounds, de Casier’s sound surveys the past while looking to the future.

Born in Portugal to Belgian and Cape Verdean parents and raised in Denmark, Erika de Casier initially made her mark as an ally of the Regelbau collective (home to Danish house acts DJ Sports, C.K and Central) before writing, co-producing and releasing debut album, Essentials, through her own Independent Jeep label. Her take on 90s/00s R&B became a slow-burn success story and Essentials graced Best of 2019 lists at Mixmag, Gorilla vs. Bear, FACT, Dummy, and Crack Magazine.

TRACK LISTING

1. Drama
2. Polite
3. Make My Day
4. All You Talk About
5. Insult Me
6. No Butterflies, No Nothing
7. Someone To Chill With
8. Acceptance (intermezzo)
9. Better Than That
10. Friendly
11. Secretly
12. Busy
13. Call Me Anytime

Erika de Casier isn’t searching for perfection – she’s just trying to show you where she’s at right now. As ever, 'Still' proves that de Casier is a master of writing songs that speak to universal experiences of modern life, even for all their specificities and quirks. If 'Essentials' (2019) was filled with perfect songs about flirtation and new love, and 'Sensational' (2021) added wrinkles in the form of partners who were rude and plainly annoying, 'Still' sees de Casier writing about genuine heartbreak with a new clarity. For all the new heaviness that arises on 'Still' - and the subtle political valence that comes alongside - de Casier’s music remains as fun and sensual as it’s always been. 'Still' confirms that there are few artists making music that so freely slips between sensitivity and irreverence, sex and sadness. Among all the success, the accolades, the acclaim, her greatest achievement may be, simply: she’s still Erika de Casier.

All of this is to say the album is classic de Casier, her idiosyncratic mix of luxuriant electronica and moonlit R&B drilled further into that one-of-a-kind sound here. Her songwriting is as masterful and universal as ever, and her proficiency as a producer heightened as she produces other voices (They Hate Change, Shygirl, Blood Orange) for the first time. She also invites new collaborators, working with live musicians in addition to samples. N, co-producer of 'Essentials' and 'Sensational', returns here, but added to the fold are Jonathan Jull Ludvigsen, Carl Emil Johansen, Niels Kirk, Christian Rhode Lindinger, Nick León, Kirsten Nyhus Janssen and Tobias Sachse, adding live drums, synths, guitar, bass and more. These musicians, as well as de Casier’s chorus of friends who sing and rap on the record, add a jolt and crackle to her world; where those first two records felt like dispatches straight from the recesses of de Casier’s brain – intimate thoughts slinking through the ether at 2am – 'Still' feels like a conversation between friends in the backroom of a crowded bar. Those friends embolden de Casier to deliver some of her most emphatic songs ever,.

STAFF COMMENTS

Matt says: Really nice catch-all of modern influences - alt-RnB, jungle, synth-pop - executed with a sophisticated and unique style of song writing prowess which stands Erika De Casier out as high performing and individual artist.

TRACK LISTING

1. Right This Way
2. Home Alone
3. Lucky
4. The Princess
5. Ice (ft. They Hate Change)
6. Test It
7. Ooh
8. Believe It
9. Anxious
10. Ex-Girlfriend (ft. Shygirl)
11. Toxic
12. My Day Off
13. Twice (ft. Blood Orange)
14. Someone

Electronic jazz pioneer, pianist, producer, re-mixer Mark de Clive-Lowe has an envious reputation as a cross genre creative artist who blends acoustic, electronic and world music exploring themes of belonging and identity. Equal parts jazz, house, hip hop and broken beat artist, Jazziz summed him up perfectly - "way before jazz hybridity became a worldwide phenomenon, de Clive-Lowe was busy designing its blueprint.”

Freedom is a live concert recording made at the Blue Whale, Los Angeles - where Mark put together a Los Angeles based collective made up by very accomplished and suitably talented Teodross Avery – saxophone, Corbin Jones - bass, souzaphone drummer Tommaso Cappellato Carlos Nino – percussion and the highly renowned spiritual jazz vocalist Dwight Trible.

Reinterpreting a set of Pharoah Sanders highly respected music is not for the creatively timid, and Mark himself sets out the approach and philosophy this collective took when approaching this project: “This album is a celebration of the music, joy and spirit that the great master-teacher Pharoah Sanders brings to the world through his lifelong creative journey. We gathered at Los Angeles’ Blue Whale jazz club to perform some of our favorite Pharoah compositions from a place of love, respect and gratitude for all the inspiration he’s brought to each of us. No one can play this music how Pharoah plays it - his expression is unique and imprinted on every one of his compositions in the deepest of ways. We can’t possibly improve on his mastery and share this music simply as a heartfelt thank you to Pharoah - we celebrate you, and are so grateful for all the timeless - and timely - music you have gifted to the world”.

Across this 12 track album the unique approach of improvised jazz is embellished with MDCL’s tasteful and subtle touches of electronica played & triggered – from behind his array of equipment he reinvigorates and energises the music with a deft and tasteful approach and the interplay between the musicians including vocalist Dwight Trible is flawless and more akin to a extensively rehearsed studio recording than a live concert, such are the skills of all the players.

The highlights are many and varied, from the delicate, sensitive Mansions World and Astral Travelling to the intense and rhythmically driven tracks OreSe-Rere and Teodross Avery’s spine tingling saxophone clarion call that opens the ever green ‘You’ve Got To Have Freedom’ is a beautiful tribute from one generation of master musicians to Pharoah – one of the greatest ever.

STAFF COMMENTS

Millie says: A beautiful, touching tribute of Pharoah Sanders, Mark De Clive Lowe and a host of other artists reimagine his powerful music which is no easy task but it's delivered in the most celebratory way, filled with emotion and admiration for a great musician while exploring important themes of freedom and identity.

TRACK LISTING

LP
DISC ONE
A1 Upper Egypt
A2 Elevation
A3 Colors
B1 You’ve Got To Have Freedom
B2 Thembi
B3 Astral Travelling
DISC TWO
C1 The Creator Has A Master Plan
C2 Greeting To Saud (Brother McCoy Tyner)
C3 Love Is Everywhere
D1 Mansions World
D2 Ore-Se-Rere
D3 Memories Of Lee Morgan

CD
DISC ONE
01 Upper Egypt
02 Elevation
03 Colors
04 You’ve Got To Have Freedom
05 Thembi
06 Astral Travelling
DISC TWO
01 The Creator Has A Master Plan
02 Greeting To Saud (Brother McCoy Tyner)
03 Love Is Everywhere
04 Mansions World
05 Ore-Se-Rere
06 Memories Of Lee Morgan

Arrington de Dionyso's newest album "Suara Naga" is a pleasant balm for any creative spirit. By 'pleasant', I mean incendiary. By 'balm', I mean Cro-Magnon regressive. By 'any', I mean freaks only. By 'creative', I mean dangerous. And by 'spirit' I mean the flames of Hell and the flowers of Eden entwined upon the nuptial sofas of pleasure. By 'spirit', I mean wearing grooves in the floor boards of your dirty mind. By 'spirit', I mean that part of you that either heeds the call or gets destroyed. By 'spirit', I mean this force coursing through your corporeal privates. By 'spirit', I mean a mystical draft. By “spirit”, I mean fermented juice. By 'spirit', I mean a sharpened stick rammed through an animal. By 'spirit', I mean you really don't need any more music, this one alone will do. By 'spirit', I mean a catalyst for your art. By 'spirit', I mean, SPIRIT! Now get out there and play this album at full volume while doing something good.

The Facts:
1. This is the second Malaikat dan Singa album, the first one was self-titled and came out in 2009.
2. "Malaikat dan Singa" means "Angels and Lions", "Suara Naga" means "The Dragon's Voice".
3. All of the lyrics on both records are in Indonesian, which Arrington taught himself specifically for this project.
4. Arrington de Dionyso's Malaikat dan Singa will be touring extensively in Europe and the US in March, April, and May, and will lead an expedition to Indonesia in the Fall of 2011 with filmmaker Vincent Moon (The Take Away Show) documenting the encounter.
5. The album was recorded at Dub Narcotic Studio in Olympia, with an all-star cast including members of LAKE and Angelo Spencer et les Hauts Sommets. The record was produced by Karl "The Genius" Blau.
6. You know how in the 1950s the press and parents and such talked about how rock‘n’roll had some evil, sexual, tribal force that was going to possess the youth? Arrington de Dionyso’s Malaikat dan Singa is really that. Trance-punk dancehall explosion gonna knock you up! 2011!
7. No, Old Time Relijun is NOT doing a tour this year! Learn some Indonesian and stop complaining.

TRACK LISTING

1. Kerasukan
2. Baru Limunan
3. Aku Di Penjara
4. Binglala
5. Bianglala Batin
6. Iblis Atas Iblis
7. Madu Mahadahsyat
8. Susu Naga
9. Wadah Rohani
10. Perawan Berawan
11. Halilintar!

Based in New York and Colombia, Alfredo worked with some of the greats in Latin music including Eddie Palmieri, Willie Colon and Roberto Roena, alongside disco and soul icons like Sylvester and Aquarian Dream. His debut album, Alfredo, is sublime and comprises two distinct halves. The A- side is a fine outing of Latin dancefloor workouts, with Alfredo innovatively incorporating the violin as a key element of his songwriting. Take to 'Toca Alfredo Toca' or 'Charangueando' to hear Alfredo's violin solos placed centre stage, a unique dimension to Latin music which he helped to pioneer at the time.

Side two though is where things get interesting and unexpected. 'Hot To Trot' is a string- laden, Latin groover with a heavy dose of disco- funk and bubbling Brazilian percussion. It is sheer genius and still ignites a dancefloor to this day. The track became a favourite with the iconic New York DJ Larry Levan and was spun in one of the ground zero blueprints of modern clubbing, the Paradise Garage. This tune has been a mainstay amongst DJs ever since its release, has featured on compilations by Louie Vega, Dave Lee and Danny Krivit over the years and is a record that never leaves our bag. Other highlights include the cosmic, layered string, Latin jazz version of 'My Favourite Things' that opens into a psychedelic percussive jam and the mesmerising 'Que Rico Bailo Yo'. Also be sure to check the epic closer 'Canto Del Corazon', which fuses avant-garde elements into a bass-gliding funk before morphing into a brilliant Latin final section.

This is a true masterpiece from the trailblazing "El violin de la salsa" and one that deserves a place in every collection.

TRACK LISTING

Toca Alfredo Toca
El Casabe
Charangueando
Que Rico Bailo Yo
Hot To Trot
My Favorite Things
Canto Del Corazon

3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989.

It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know".

The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Jazz & Pop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall).

Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). An absolutely essential slice of Hip Hop history that’s been unavailable for some time.

TRACK LISTING

1. Intro
2. The Magic Number
3. Change In Speak
4. Cool Breeze On The Rocks (The Melted Version)
5. Can U Keep A Secret
6. Jenifa Taught Me (Derwin's Revenge)
7. Ghetto Thang
8. Transmitting Live From Mars
9. Eye Know
10. Take It Off
11. A Little Bit Of Soap
12. Tread Water
13. Potholes In My Lawn
14. Say No Go
15. Do As De La Does
16. Plug Tunin' (Last Chance To Comprehend)
17. De La Orgee
18. Buddy (with Jungle Brothers And Q-Tip From A Tribe Called Quest)
19. Description
20. Me Myself And I
21. This Is A Recording 4 Living In A Full Time Era (L.I.F.E.)
22. I Can Do Anything (Delacratic)
23. D.A.I.S.Y. Age

AOI: Bionix is De La Soul's sixth full length album, released on December 4, 2001.

The first single, "Baby Phat" featuring Yummy Bingham and Devin the Dude, was an ode to larger sized women.

Elsewhere, "Held Down", featuring Cee- Lo, found Posdnuos in an introspective mood as he mused on fatherhood, religion, and fame. Slick Rick also made an appearance on "What We Do (For Love)"; a humorous song about puberty and sexual discovery.

The album featured skits with a character by the name of Reverend Do Good, which worked as social commentary as well as the intros and outros of the songs. The final Reverend Do Good skit acts as one final advertisement for Ghost Weed as heard on De La Soul's previous album, Art Official Intelligence: Mosaic Thump. A mischievous teenager takes a hit of the substance, then morphs into Slum Village frontman J Dilla, who provides the intro and outro to the marijuanathemed song "Peer Pressure" (which he also produced).

TRACK LISTING

Intro
Bionix
Baby Phat
Simply
Simply Havin'
Held Down
Rev. Do Good # 1
Watch Out
Special
Rev. Do Good # 2
The Sauce
Am I Worth You?
Pawn Star
What We Do (For Love)
Rev. Do Good #3
Peer Pressure
It's American
Trying People

Art Official Intelligence: Mosaic Thump is the fifth studio album by De La Soul, released on August 8, 2000

Among the guests on the album are, Redman, Tash and J-Ro of Tha Liks, Xzibit, Busta Rhymes, Mike D and Ad Rock of the Beastie Boys, Busy Bee, Freddie Foxxx and Chaka Khan. Mosaic Thump returned De La Soul to chart territory again thanks to the hit singles "Oooh.", and "All Good?".

"Oooh" was nominated for a Source Award and the album was nominated for a Grammy for Best Rap Performance By A Duo or Group.

TRACK LISTING

Spitkicker.Com/Ray R.
U Can Do (Life)
My Writes
Ooooh
Thru Ya City
I. C. Y'all
View
Interluden
Set The Mood
AllGood?
Declaration
Squat!
Words From The Chief Rocker
With Me
Copa (Cabanga)
Foolin'
The Art Of Getting Jumped
U Don't Wanna B.D.S.

There were several moments on the album which proved the band had matured. "I Be Blowin'" was a departure as the track was an instrumental featuring saxophone playing by Maceo Parker. The introspective "I Am I Be" showed De La Soul at their most self-referential to date. "Long Island Wildin'" was a collaboration with Japanese hip hop artists Kan Takagi (Major Force) and trio Scha Dara Parr (SDP). The album's first single, "Breakadawn", used a sample of Michael Jackson's "I Can't Help It" and Smokey Robinson's "Quiet Storm".De La Soul collaborated for the first time with Gang Starr's Guru on "Patti Dooke", and female MC Shortie No Mas who was prominent on many tracks on the album and showcased particularly on "In The Woods". The album ended with an old school Biz Markie collaboration called "Stone Age". The album was a critical success with Rolling Stone listing it as one of the best hip hop albums of all time.

TRACK LISTING

1. Intro
2. Eye Patch
3. En Focus
4. Patti Dooke
5. I Be Blowin'
6. Long Island Wildin'
7. Ego Trippin' (Part Two)
8. Paul's Revenge
9. 3 Days Later
10. Area
11. I Am I Be
12. In The Woods
13. Breakadawn
14. Dave Has A Problem...Seriously
15. Stone Age

De La Soul’s Cabin In The Sky has always lived in its own orbit - playful, introspective, and endlessly creative. This exclusive Marvel Variant Edition elevates that spirit even further, featuring original cover art by Edwin Galmon.

Pressed in limited quantities, this edition is built for collectors who appreciate boundary-pushing music and bold visual storytelling - where hip-hop’s most inventive trio meets the expansive energy of the Marvel x Legend Has It... Universe.

TRACK LISTING

Disc: 1
1. The Package
2. Cabin Talk (album intro) feat. Giancarlo Esposito
3. YUHDONTSTOP
4. A Quick 16 for Mama feat. Killer Mike
5. Sunny Storms
6. Just How It Is (Sometimes) feat. Jay Pharoah and Gareth Donkin
7. Good Health
8. Cruel Summers Bring FIRE LIFE!! feat. Yukimi from Little Dragon
9. Will Be feat. Yummy Bingham
10. Day In The Sun (Gettin’ wit U) feat. Q-Tip & Yummy Bingham

Disc: 2
1. Run It Back!! feat. Nas
2. BELIEVE (In Him) feat. Lady Stout and K. Butler & The Collective
3. Yours feat. Common and Slick Rick
4. Different World feat. Gina Loring
5. Patty Cake
6. Palm Of His Hands feat. Bilal
7. The Silent Life Of A Truth
8. Cabin In The Sky
9. EN EFF feat. Black Thought
10. Don’t Push Me

De La Soul returns with 'Cabin in The Sky', a deeply personal and emotionally charged album. More than just a collection of songs, this project serves as a journey through reflection, love, and healing, a space where pain transforms into art, and remembrance turns into rhythm.

The album honors the legacy of Dave “Trugoy the Dove” Jolicoeur, and extends that tribute to all loved ones lost along the way. Through reflective lyricism, soulful samples, and the unmistakable De La groove, 'Cabin in The Sky' captures the beauty and the heartbreak of carrying on.

STAFF COMMENTS

Barry says: Despite the subject matter, CITS is full of De La Soul's trademark upbeat grooves and sleek jazzy flourishes beneath classic, impeccable MC work. A wonderfully eloquent and beautifully smooth tribute to one of the most legendary figures in hip-hop history from a host of their friends. A beautiful album, and sentiment.

TRACK LISTING

1. Cabin Talk (Album Intro) Feat. Giancarlo Esposito
2. YUHDONTSTOP
3. Sunny Storms
4. Good Health
5. Will Be Feat. Yummy Bingham
6. The Package
7. A Quick 16 For Mama Feat. Killer Mike
8. Just How It Is (Sometimes) Feat. Jay Pharoah And Gareth Donkin
9. Cruel Summers Bring FIRE LIFE!! Feat. Yukimi From Little Dragon
10. Day In The Sun (Gettin’ Wit U) Feat. Q-Tip & Yummy Bingham
11. Run It Back!! Feat. Nas
12. Different World Feat. Gina Loring
13. Patty Cake
14. The Silent Life Of A Truth
15. EN EFF Feat. Black Thought
16. BELIEVE (In Him) Feat. Lady Stout And K. Butler & The Collective
17. Yours Feat. Common And Slick Rick
18. Palm Of His Hands Feat. Bilal
19. Cabin In The Sky
20. Don’t Push Me

The holy grail of De La Soul albums, 'Clear Lake Audiotorium' was released in 1994 exclusively as a promotional item to A- list DJs. It features four tracks from the group's 'Buhloone Mindstate' album and two new tracks - 'sh.Fe.Mc's' featuring A Tribe Called Quest and 'Stix & Stonz' featuring The Fearless Four, Grandmaster Caz, and Prince Whipper Whip). While only 500 copies were pressed of the original, this legendary collector's item is now available as a limited edition release. 

TRACK LISTING

1. IN THe WoOds (feat. Shortie No Mass)
2. I AM I BE (feat. Maceo Parker, Fred Wesley, Pee Wee Ellis)
3. SH.fe.mC's (feat. A Tribe Called Quest)
4. PatTi DOOke (feat. Guru, Maceo Parker, Fred Wesley, Pee Wee Ellis)
5. I BE BLowiN' (feat. Maceo Parker)
6. STix & STonz (feat. Grandmaster Caz, Tito Of The Fearless Four, Whipper Whip, La Sunshine And Superstar)

Despite their rapid success and recognition, De La Soul continued to prove themselves as one of the most original, authentic and creative groups in hip-hop, with the release of their sophomore album, De La Soul is Dead on May 14, 1991.Featuring once again, the production of visionary producer Prince Paul, their second album further fanned the flames; landing on charts around the world, receiving a five-mic rating in The Source and securing Gold status by the RIAA. To this day, the project is considered one of the groups best albums to date, having left fans with several certified classics like, "A Roller Skating Jam Named Saturdays", "Ring, Ring, Ring (Ha Ha Hey)" and "Keepin' the Faith". Another absolutely essential slice of Hip Hop history that’s been unavailable for some time.

TRACK LISTING

1. Intro
2. Oodles Of O's
3. Talkin' Bout Hey Love
4. Pease Porridge
5. Skit 1
6. Johnny's Dead AKA Vincent Mason (Live From BK Lounge)
7. A Roller Skating Jam Named "Saturdays"
8. WRMS' Dedication To The Bitty
9. Bitties In The BK Lounge
10. Skit 2
11. My Brother's A Basehead
12. Let, Let Me In
13. Afro Connections At A Hi 5 (In The Eyes Of The Hoodlum)
14. Rap De Rap Show
15. Millie Pulled A Pistol On Santa
16. Who Do U Worship?
17. Skit 3
18. Kicked Out The House
19. Pass The Plugs
20. Not Over Till The Fat Lady Plays The Demo
21. Ring Ring Ring (Ha Ha Hey)
22. WRMS: Cat's In Control
23. Skit 4
24. Shwingalokate
25. Fanatic Of The B Word
26. Keepin' The Faith
27. Skit 5

'The Grind Date' is the seventh studio album by De La Soul, released in 2004. The album marked a significant return for the group after a hiatus since their previous album in 2001. 'The Grind Date' showcases De La Soul's signature blend of clever lyrics, innovative production, and a mix of playful and introspective themes. The album includes a plethora of exciting featured artists including MF Doom, Ghostface Killah, Flava Flav and Sean Paul.

TRACK LISTING

CD Tracklist:

CD1:
1. The Future
2.Verbal Clap
3. Much More (Feat. Yummy)
4. Shopping Bags (She Got From You)
5. The Grind Date
6. Church
7. Doo Good In Church (Skit) [previously Unreleased]
8. It’s Like That (Feat. Carl Thomas)
9. He Comes (Feat. Ghostface Killah)
10. Days Of Our Lives (Feat. Common)
11. Come On Down (Feat. Flavor Flav)
12. No (Feat. Butta Verses)
13. Rock Co.Kane Flow (Feat. MF DOOM)
14. Shoomp (Feat. Sean Paul)

CD2:
1. Bigger (Feat Choklate) [previously Unreleased]
2. Respect [previously Unreleased]
3. Verbal Clap (Instrumental)
4. Shopping Bags (She Got From You) (Instrumental)
5. The Grind Date (Instrumental)
6. Days Of Our Lives (Instrumental)

Vinyl Tracklist:
1. The Future
2. Verbal Clap
3. Much More (Feat. Yummy)
4. Shopping Bags (She Got From You)
5. The Grind Date
6. Church
7. It’s Like That (Feat. Carl Thomas)
8. He Comes (Feat. Ghostface Killah)
9. Days Of Our Lives (Feat. Common)
10. Come On Down (Feat. Flavor Flav)
11. No (Feat. Butta Verses)
12. Rock Co.Kane Flow (Feat. MF DOOM)
13. Shoomp (Feat. Sean Paul)
14. The Grind Date (Instrumental)
15. Verbal Clap (Instrumental)
16. Shopping Bags (Instrumental)
17. Days Of Our Loves (Instrumental)

Stakes is High was critically lauded for its music, lyricism, and its overall message concerning the artistic decline rap music began to face in the mid-90s. The title track and first single was produced by J Dilla and the album's second single, "Itzsoweezee (HOT)", with only Dave on vocals, was accompanied by a creative music video. The album spawned a third single "4 More", featuring Zhane. The album did provide a launching pad for future star rappers and actors Mos Def, who appeared on the track "Big Brother Beat" and Common who is featured on "The Bizness."

TRACK LISTING

1. Intro
2. Supa Emcees
3. The Bizness
4. Yunonstop
5. Wonce Again Long Island
6. Dinnit
7. Brakes
8. Dog Eat Dog
9. Baby, Baby, Baby, Baby, Ooh Baby
10. Long Island Degrees
11. Betta Listen
12. Itzsoweezee (HOT)
13. 4 More
14. Big Brother Beat
15. Down Syndrome
16. Pony Ride
17. Stakes Is High
18. Sunshine

A 2LP re-issue of the seventh album from the hip-hop pioneers, De La Soul. Originally released in 2004, the album features a top line array of guest spots including Ghostface Killah, Sean Paul, Flava Flav and producer J Dilla (A Tribe Called Quest). Unlike their other albums, The Grind Date doesn’t include any ‘skits’ or interludes, it is considered pure quality with no filler. Pitchfork placed the album at number 31 on the "Top 50 Albums of 2004" list.

This 2020 re-issue also features four bonus instrumental tracks

Brazilian poet, lyricist, essayist and playwright, Vinicius de Moraes (1913-1980) became a seminal figure in modern Brazilian music and literature. Along with his longtime collaborator, composer, arranger, singer, and pianist/ guitarist Antonio Carlos Jobim (1927-1994), known in Brazil as Tom Jobim, he composed hundreds of songs which have become true classics and have transcended the bossa nova, as they continue to be played and recorded by countless singers and instrumentalists within Brazil and throughout the world. This LP edition compiles some of Vinicius' earliest recordings.

TRACK LISTING

Berimbau
Mulher Carioca
Samba Em Preludio
Pela Luz Dos Olhos Teus
O Astronauta
Samba Da Bencao
Ouverture
Monologo De Orfeu
Um Nome De Mulher
Se Todos Fossem Iguais A Voce 
Mulher, Sempre Mulher
Eu E O Meu Amor
Lamento No Morro

Time is a beguiling, indistinct entity...sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars.

The duo’s partnership is an effortless merge, yet it’s the steady presence of de Oliveira’s vocals that endows the record with itssense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself... a process that ties us all to the universal. The Danish philosopher Søren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer.

Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira’s vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner.

Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly...

TRACK LISTING

1. Intro
2. I’m Nebel
3. Ashore Of The Cosmic
4. Seven Summits
5. Something To Behold
6. Hanging Gardens
7. Eyes Within
8. All Flowers In Time
9. Astral Bodies
10. In The Tenth Year Of
11. Picture Of A Picture
12. Further Than The Stars

Recorded between the mountains of Spain, the neon haze of Boston and broadcast from the streets of Glasgow. This is Gil De Ray’s first vinyl statement since the Rough Trade Album of The Week, “A Riot Of Sound”. Channelling the emotional drama of 60s girl groups, the woozy heat of Exotica and fuzzed‑out Psychedelia, “Awakening Imagination” is a collection of haunted psychedelic pop / torch songs for the doom scroll generation. It sits neatly alongside the surrealist, hypnagogic pop universe of Cindy Lee, but speaks in Gil De Ray’s own voice: a cinematic, late‑night transmission for listeners who want their heartbreak widescreen, distorted and glowing. Written in the shadow of televised genocide and permanent crisis, these songs reflect a world of isolation, frustration and righteous anger. The album was produced and mixed by Michael Hlady of Holiday Music in Boston, USA.

TRACK LISTING

1. Time Is All We Have
2. Love Lingers On
3. Mary Weiss' Tears
4. Tears
5. Only Fools Go Out Like This
6. Loathe Island
7. Ghosts Of Spain
8. True Intentions
9. Quantum Minds
10. When You Were Young

SARO (soundtrack of the film by Enrico Maria Artale) is the latest work by Marco Messina and Emanuele de Raymondi, two of the rising stars, respectively, in ambient electronic and contemporary classical scenes in Italy. The result of their collaboration is an elegantly crafted musical journey, between minimalistic string arrangements and textural modular synths, perfectly integrated to enhance the imagery of the film. SARO, as the name of film director’s father, it is both an intimate road-movie and a documentary that tells the journey through the evocative landscapes of Sicily in search of a father never known.

Emanuele de Raymondi is an Italian composer and sound artist. A graduate of the Berklee College of Music in Boston, his work is based on digital processing techniques combined with traditional compositional structures. He has composed numerous soundtracks, including Arianna by Carlo Lavagna (awarded at BAFTA and Venice Film Festival), and in December 2016 he released the electronic music single "EXUL EP" (ZEROKILLED). 

Marco Messina is a musician, producer and sound designer. He was born and lives in Naples, where in the 90s he founded 99 Posse and Mousikelab Studio. He has scored numerous films, including creating soundtracks for of all of Pietro Marcello films, among the others The line Passage, Beautiful and Lost, The Mouth of the Wolf, (awarded at Berlinale film festival and Davide di Donatello).

This is Glasgow's De Rosa's third studio album and their first for Mogwai's Rock Action Records. They have previously toured with Arab Strap, Doves and Mogwai so fans of those bands plus Interpol, The Twilight Sad and Belle & Sebastian will enjoy this album. 

Despite the whirlwind that has been sweeping her away since the spring of 2023, Zaho de Sagazan has kept writing and is now set to release an enhanced version of her first album, La Symphonie des éclairs.

This extended version includes seven intimate and previously unreleased songs charged with an undeniable electro energy. While attentive listeners had already caught the very tragic “Dernier des voyages” during her shows, nothing was yet known of “L'Envol” and its existential impulse, the post-breakup tenderness of “Est-ce que tu vas bien?”, the artistic profession of faith on “Ô travers”, the explicit sensuality of “Hab Sex”, or even “Parler l'amour” and lastly “Old Friend” written and recorded with the very one who had given rise to her desire and urgency to make music...”

TRACK LISTING

1. La Fontaine De Sang
2. Aspiration
3. Les Dormantes
4. La Symphonie Des éclairs
5. Les Garçons
6. Langage
7. Dis-moi Que Tu M'aimes
8. Mon Inconnu
9. Je Rêve
10. Tristesse
11. Suffisamment
12. Mon Corps
13. Ne Te Regarde Pas
14. Le Dernier Des Voyages
15. Old Friend
16. Ô Travers
17. Est-ce Que Tu Vas Bien ?
18. Hab Sex
19. Parler L’amour

Zaho de Sagazan and the fifty musicians of the Orchestre National de Lyon have joined forces to create a unique masterpiece, ‘La symphonie des éclairs (Orchestral Odyssey)’.

A symphonic album in four movements and sixteen songs, opening the door to a whole new horizon. A haunting voice that shifts from cries to whispers, a transcendent score, an unprecedented whirlwind of emotions... From the intimate to the grandiose, such is the promise of the journey.

TRACK LISTING

1. Aspiration
2. Mon Inconnu
3. Les Garçons
4. Langage
5. Les Dormantes
6. Je Rêve
7. Suffisamment
8. Mon Corps
9. La Fontaine De Sang
10. Tristesse
11. Le Dernier Des Voyages
12. Est-ce Que Tu Vas Bien ?
13. Old Friend
14. La Symphonie Des éclairs
15. L’envol
16. 01

Indigo De Souza announces her new album All of This Will End, the anticipated follow-up to her acclaimed 2021 breakthrough album Any Shape You Take. All of This Will End marks a warmer and unmistakably audacious era for her. It’s a statement about fearlessly moving forward from the past into a gratitude-filled present, feeling it all every step of the way, and choosing to embody loving awareness.

Across 11 songs, the album is a raw and radically optimistic work that grapples with mortality, the rejuvenation that community brings, and the importance of centering yourself now. These tracks come from the most resonant moments of her life: childhood memories, collecting herself in parking lots, the ecstatic trips spent wandering the Appalachian mountains and southern swamps with friends, and the times she had to stand up for herself. “All of This Will End feels more true to me than anything ever has,” she says.

TRACK LISTING

1. Time Back
2. You Can Be Mean
3. Losing
4. Wasting Your Time
5. Parking Lot
6. All Of This Will End
7. Smog
8. The Water
9. Always
10. Not My Body
11. Younger And Dumber

'Precipice' is the highly anticipated fourth album and Loma Vista debut from Indigo De Souza, “one of indie rock’s most versatile young voices” (The New Yorker). With an openness that feels singular, Indigo De Souza sings of heartbreak that feels beyond reason, of love that defies all odds, of unabashedly living in truth, speaking up for yourself, protecting your energy, of being afraid of the world but facing it anyway. Precipice takes the unafraid self-expression that has already earned Indigo an army of devoted fans and backs it up with deeper explorations of melody and pop influence without ever sacrificing depth or intention.

“ I feel constantly on the precipice, of something horrible, or something beautiful–something that will change my life for better or for worse. This is about change, and how we can accept it, or push it away, but it is always there, carrying us in some direction, and cannot be stopped.” — Indigo De Souza

TRACK LISTING

1. Be My Love
2. Crying Over Nothing
3. Crush
4. Not Afraid
5. Be Like The Water
6. Heartthrob
7. Dinner
8. Clean It Up
9. Heartbreaker
10. Pass It By
11. Precipice

Fronted by Rainie Lassiter's sultry, soulful vocal and produced by Blaze, the track glides between sensuality and euphoria, capturing the exact moment house music went from underground NYC basements to global dance floors.

The Deep Dish remix turned it into a worldwide anthem, topping charts in Italy and breaking into the UK Top 10, while still holding down credibility with DJs and crate-diggers alike. Its hypnotic groove, lush chords, and emotional pull have made it a staple in countless sets, and it's been sampled by artists like Four Tet & Champion who recognized its timeless pulse. Three decades later, 'Hideaway' still sounds as smooth and vital as the night it first hit the decks.

This 12" features the Radio Edit, Deep Dish Remix & the Acapella.

TRACK LISTING

1. Hideaway (Klub Head's Hideout)
2. Hideaway (Klubhouse)
3. Hideaway (Klub Head's Dub-A-Way)
4. Hideaway (Club Dub It)
5. Hideaway (Radio Edit)
6. Hideaway (Deep Dish Remix)
7. Hideaway (Acappella)

Irish band Dea Matrona return with their second album, 'Hate That I Care'. Darker and more emotionally intense, the record finds Mollie McGinn and Orláith Forsythe coming into their own, embracing alt-rock with a sharpened edge. Written with a deeper awareness of the world around them, 'Hate That I Care' explores desire, rebelling against expectations and the complicated process of self-discovery

TRACK LISTING

1. Hate That I Care
2. My Own Party
3. A Rebel Song
4. Aisling
5. John Doe
6. Wait
7. Magic Spell
8. Summer Rain
9. Siren Song
10. Told U I’m Strange

The new limited edition fully–illustrated, hardback coffee table book by Nicky Weller, Stuart Deabill and Steve Rowland celebrating the first decade of Paul Weller as a solo artist.

This stunning new 304–page book offers an illuminating visual and text history of one of Britain’s greatest songwriters, Paul Weller, by the team behind the acclaimed ’Soul Deep – Adventures with the Style Council’ and published by Soul Deep Productions.

In the Shadow of the Sun charts the rise of Paul’s climb as an unsigned singer/songwriter to double million selling album artist and beyond, through original and rare artwork, unseen photos from Lawrence Watson and Grant Fleming, press ads, tour posters, merchandise, and other rarely seen artefacts from the archives of some of PW’s biggest fans.

Featuring new interviews with Lawrence Watson, Go Discs! boss Andy MacDonald, Producer Brendan Lynch, Musician Mick Talbot and many attendees of Paul’s gigs from the small venues to the outdoor sold–out gigs and festivals of the era. Complimented by Nicky Weller’s personal memorabilia, memories and photos, as well as Stuart Deabill’s insights and knowledge as an avid music nut who lived the decade, like it was his last.

'Spiderman of the Rings', originally released on CD and LP in 2007, was the album that introduced the music world at large to the songs of Baltimore’s Dan Deacon. For years, Deacon had been honing his compositional and performing chops with a relentless DIY touring schedule. 'Spiderman of the Rings' presents a picture of a songwriter-performer at an early creative growth spurt and is the first full-length album on which disparate, experimental, conceptual pieces made way for infectious, road-tested, noise-pop hits. Spiderman was almost universally lauded by the music press upon its first release, and the record is littered with live staples and fan favourites, such as “Crystal Cat”, “Wham City”, and “Okie Dokie”.

Deacon went on to reach yet greater critical and commercial heights with his 2009 two-disc opus 'Bromst'. The success of 'Bromst' and the news of Deacon’s soundtrack for Francis Ford Coppola’s upcoming film Twixt have inspired many to rediscover Dan’s breakout album, 'Spiderman'.

With Mystic Familiar, Dan gives us the result of years of obsessive work, play, and self-discovery. It’s at once his most emotionally open record and his most transcendent, 11 kaleidoscopic tracks of majestic synth-pop that exponentially expand his sound with unfettered imagination and newfound vulnerability.

Since 2015’s Gliss Riffer, Deacon has branched out into an array of collaborative projects including film scores to Rat Film, HBO’sWell Groomed, ESPN’s30 for 30: Subject to Review; collaborating with the NYCBallet’s resident choreographer Justin Peck, LAPhil and Baltimore Symphony Orchestra.

While fulfilling, these projects lacked Dan’s singing voice. In the midst of that whirlwind of activity, he returned whenever he could to a personal oasis⁠—the songs that would become Mystic Familiar, informed by all these collaborations but built from within. Deacon’s writing took an exploratory new direction developed with therapeutic practices of self-compassion and mindfulness, daily prompts from Brian Eno’s deck of Oblique Strategies and the use of meditation. These techniques produced songs that paint life as a psychedelic journey brimming with bliss and disruption, darkness and light.

It’s a vulnerable shift in a songbook abundant with characters, metaphors, and modulations. This voice-focused album is also the first record in which each song was built around one central concept—the Mystic Familiar, a supernatural other being that we carry with us everywhere in our head, which only we can hear and with whom we live our lives in eternal conversation.

Mystic Familiar takes a propulsive leap with the robot-performed drums and soaring melodies of “Sat By a Tree.” Lyrically, the song conjures campfire reflections on key memories with the hard-won clarity of time, a dialogue with an anthropomorphic tree on chilling out, and befores and afters of life and death. The video, directed by Daren Rabinovitch offilm and animation studioEncyclopedia Pictura and starring comedian Aparna Nancherla, uses natural world elements, vivid colors, and a cartoon-like aesthetic to reflect on time and the precious shortness of life (not for those with an aversion to bugs).

STAFF COMMENTS

Barry says: 2015's 'Glass Riffer' didn't some off my turntable for quite some time, and i'm pretty sure this will meet the same fate. Huge swathes of synth and bright percussives shine through below the off-piste vocals and chaotic bitcrushed scree. It's marvellous, and completely insane.

TRACK LISTING

1. Become A Mountain
2. Hypnagogic
3. Sat By A Tree
4. Arp I: Wide Eyed
5. Arp II: Float Away
6. Arp III: Far From Shore
7. Arp IV: Any Moment
8. Weeping Birch
9. Fell Into The Ocean
10. My Friend
11. Bumble Bee Crown King

Domino Soundtracks are proud to present their first release, an original soundtrack recording from Dan Deacon of the provocative essay-film ‘Rat Film’, to be released in October 2017.

‘Rat Film’ marks Deacon’s first full record devoted to modern composition. In between his four ecstatic electronic-pop albums, Deacon has frequently flexed the 21st Century classical muscles he first developed studying at SUNY Purchase’s Conservatory Of Music.

‘Rat Film’ offers the first recorded document of this parallel career - and both as a self-contained album and a companion piece to an equally potent film, it astounds.

“The aesthetic audacity alone is intriguing; combined with Maureen Jones’s icily robotic narration and Dan Deacon’s eerie electronic score, the effect is somewhere between confounding and mesmerizing.” - New York Times

“‘Rat Film’, in other words, is not your typical documentary, and its mesmerizing electronica score by Dan Deacon - full of whirring, bleeping and blipping, cacophonous noise, and ominous tonal swells - only enhances its eccentricity.” - The Daily Beast

TRACK LISTING

Redlining
Horn Phase
Pelican
OCME
Harold
Reed Clouds
Seagull
Calhoun
Rat Poison
Video Game
Harold’s Lament
Map Overlays

The Dead 60s seminal self-titled album gets a timely deluxe edition reissue on vinyl for its 20th Anniversary, on Deltasonic Records

“Back in the day, punk and dub weren’t just sharing space—they were smashing into each other headfirst. Late '70s Britain was a pressure cooker, and for kids like me, growing up between Brixton’s bass bins and the chaos of King’s Road, that collision was everything. Jamaican sound system culture met punk’s raw spirit in a haze of smoke, sweat, and feedback. It wasn’t about genre—it was about energy. Identity. Defiance. so when The Dead 60s came along, post-Britpop and post-bullshit, it felt like someone had dusted off the blueprint and run it through a battered old tape echo. These weren’t just lads with good taste—they understood the assignment. They took the DNA of two rebel cultures and mutated it into something that could stand tall in the 21st century. Dub-soaked, punk-fuelled, dripping with that Liverpool attitude. I remember first hearing them and thinking—yeah, here we go again. Not in a retro way, but in a real way. Guitars that cut like sirens in the night. Basslines fat and warm, straight out the Channel One playbook. Lyrics that painted the grey corners of Britain like CCTV poetry. It was the sound of youth under pressure. The sound of not fitting in—and not wanting to.

Their debut album dropped in 2005, and it hit like a flare in the dark. “Riot Radio” was a pirate broadcast from the concrete frontlines. “Control This” swaggered with menace and reverb. It was like someone opened a time capsule from the punky-reggae party and rewired it for a new generation.

Now, with this 20th anniversary vinyl reissue—complete with the full dub companion produced by Central Nervous System—we get to hear the bones and blood of it all. The dub versions pull the tracks apart and let the ghosts speak. Reverb, delay, space—it’s not just production, it’s meditation. Revolution slowed down to a heartbeat. It’s music that makes you move and think. What they’ve done here is more than remix a record—they’ve revealed its soul. That’s what dub does when it’s done right. And The Dead 60s, they got that. They weren’t tourists in the culture—they were students of it, shaped by it, and ultimately, contributors to the legacy. Liverpool’s long had a love affair with Jamaican music—you can hear it in the streets if you’re really listening. The Dead 60s tapped into that lineage, but they brought their own thing to the table. Punk's fire. Dub’s depth. Ska’s bounce. All filtered through a Northern lens and blasted out like protest graffiti. This 20th anniversary reissue ain’t about nostalgia. It’s a reminder. A celebration. A call to arms. Music like this doesn’t belong in a museum—it belongs on a system, shaking walls and waking minds. Crate diggers, completists, young punks, old heads—this one's for all of you.

So put it on and turn it up. Let the punk edge sharpen your thoughts, and the dub shake your bones ‘cos this isn’t just a reissue - it’s resistance on wax.....”
-Don Letts The Rebel Dread 2025.

TRACK LISTING

The Dead 60s
A1 - Riot Radio
A2 - A Different Age
A3 - Train To Nowhere
A4 - Red Light
A5 - We Get Low
A6 - Ghostfaced Killer
B1 - Loaded Gun
B2 - Control This
B3 - Soul Survivor
B4 - Nationwide
B5 - Horizontal
B6 - The Last Resort
B7 - You're Not The Law

Bonus Vinyl: Space Invader Dub
C1 - Too Much TV Dub
C2 - Invader Dub
C3 - D-60 Fights The Evil Force
C4 - No Control Dub
C5 - Tower Block Dub
D1 - CNS Lazer Attack D-60
D2 - Police Radio Dub
D3 - Flight Mission Dub
D4 - No Good Town Dub
D5 - Game Over 

Dinked Edition Bonus 7"
A Train To Nowhere
B Riot Radio (Live In New York)

Exactly three years after the debut album, 'Life Like' DEAD BOB continues to mine the archives of old and new demos that JOHN WRIGHT has created over the years, including two of the last songs demoed for NOMEANSNO with brother ROB WRIGHT.

Whereas ' Life Like' was primarily a solo project of John, since the formation of the live band the gang, FORD PIER, BYRON SLACK, KRISTY LEE AUDETTE and COLIN MACRAE take a far more active role in this record.

'Nothing Changes Everything' is a 35 min, 8 song release that takes you on Bob's journey and keeps you wondering, “Where the f**k is this going next!” Balls to the walls and head in the clouds, you're in for a treat.

With a couple years under their belts and return of SELINA MARTIN to collaborate on another song, Dead Bob takes it to the next level.

The Dead C’s trio of albums in the middle of their harsh 90s reality served for many as entry points to the band. Operation Of The Sonne, The White House and Tusk received wider distribution than the band had ever seen before, and this was the first rays of them being considered amongst the most important rock bands of the 20th century.

This trio of vinyl reissues capture their intensity and presence in a way that may even blow out the candle of the original pressings. Newly remastered by Lasse Marhaug, and with bonus tracks, these 2023 reissues have been cut carefully and loud, with the sonic wars heard on these now-classic tracks more blaring than ever.

The Dead C on The White House, now including bonus track “Breakdown/World”: “Recorded in the winter of 1994, sessions were accompanied by snow, an infrequent but always super-exciting event in downtown Dunedin. Mainly if not entirely recorded direct to REVOX B77, just like The Clean’s Oddities. Our version of Led Zepp IV with no ‘Stairway’, as recorded by the Meat Puppets in a K-hole. Originally M&D by Matador, this is as major label as we got. Mere pseud post-grunge sell-out moves-ah.”

The Dead C’s trio of albums in the middle of their harsh 90s reality served for many as entry points to the band. Operation Of The Sonne, The White House and Tusk received wider distribution than the band had ever seen before, and this was the first rays of them being considered amongst the most important rock bands of the 20th century.

This trio of vinyl reissues capture their intensity and presence in a way that may even blow out the candle of the original pressings. Newly remastered by Lasse Marhaug, and with bonus tracks, these 2023 reissues have been cut carefully and loud, with the sonic wars heard on these now-classic tracks for blaring than ever.

How does one follow up one of the most immediately revered noise rock releases of all time? Definitely not by spending ten times the money and time recording their next release and doing a bloated double album. Tusk (now including bonus track “There Is Something To Be Gained”), The Dead C record, is uncompromising and unrelenting. Here’s a band enjoying more attention than they ever got before, and they launch their new album with a long, ominous percussive rattle. Tusk digs into the thought bubble that formed via Operation Of The Sonne and The White House, sharpens the edges and reveals some of their greatest broken progressions and vicious feedback. The band is at their performative peak, staking their ground with an amp covered in dirt

TRACK LISTING

1. Plane
2. Head
3. Tuba
4. Half
5. Imaginary
6. Tusk
7. There Is Something To Be Gained

Dead Calm is a band from Liam McCay... a young, prolific Irish musician from County Donegal, known for creating music under numerous aliases, most notably Sign Crushes Motorist, Dead Calm, and Take Care, exploring genres like slowcore and indie rock with poignant, introspective, and often melancholic themes, gaining significant online traction while maintaining a low-key, hobbyist approach to his rapidly growing career. He began with the fiddle, pivoted to guitar during the pandemic, and has since released extensive work, even turning down record deals to keep his creative process personal.

TRACK LISTING

1. Bleed
2. Wrong
3. Oh My God ft. widowdusk
4. The Knife
5. Understand ft. wratt starr
6. Jemma
7. Sink
8. Rot ft. someone you can call
9. Altar
10. Home
11. Philip
12. Sweat And Tears ft. Casper Hill

Dead Calm is a band from Liam McCay... a young, prolific Irish musician from County Donegal, known for creating music under numerous aliases, most notably Sign Crushes Motorist, Dead Calm, and Take Care, exploring genres like slowcore and indie rock with poignant, introspective, and often melancholic themes, gaining significant online traction while maintaining a low-key, hobbyist approach to his rapidly growing career. He began with the fiddle, pivoted to guitar during the pandemic, and has since released extensive work, even turning down record deals to keep his creative process personal.

TRACK LISTING

1. Grow ft. Masumi
2. Mountain
3. Slump
4. Keep Moving On
5. Turn Around ft. rosevile sucks
6. Chance ft. widowdusk
7. Gorgeous Night
8. Say Goodbye
9. We Love You Dennis Rodman
10. What Took You So Long

With the industrial textures of their eponymous debut behind them, the fifth album from Dead Can Dance (Aion, released in 1990) is perhaps the most focused and concise of their albums. Predominately recorded at their own studio in Southern Ireland and featuring guest vocals from soprano David Navarro Sust to add to Brendan and Lisa’s opposing yet complimentary styles, the Middle Ages and the early Renaissance are a core influence; an atmosphere amplified by the album’s cover, a section from the Earth phase of Dutch painter Hieronymus Bosch's triptych, The Garden of Earthly Delights.

On their eponymous debut album, originally released in 1984, Dead Can Dance successfully harnessed a “bewitching barrage of sounds, layering grinding guitars and even a dulcimer-like yang chin over a taut wash of percussion. If the range of the group is staggering, then so too is their disciplined economy, no song lasting more than four minutes or degenerating into formless cacophony. With the five group members continually interchanging instruments, only the vocals of Lisa Gerrard and Brendan Perry remain as a constant focus”.

The 2016 LP version is a repress of the original release.